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sweethomenewyork · 2 years ago

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Transform Your Home with Premier Kitchen and Bath Remodeling Services in New York City

Are you yearning to transform your kitchen and bathroom into stunning spaces that reflect your style and meet your functional needs? Look no further! Our premier kitchen and bath remodeling services in New York City are here to turn your dreams into reality. With our expertise, creativity, and commitment to excellence, we'll help you unlock the true potential of these vital areas of your home. In this article, we'll explore some inspiring kitchen remodeling ideas and offer suggestions for small bathroom makeovers. Get ready to embark on a journey of renovation and revitalization!

Kitchen Remodeling Ideas

Open Concept Living: Create a spacious and inviting environment by removing unnecessary walls and barriers. Embrace an open layout that seamlessly connects your kitchen with adjoining areas such as the dining room or living space. This design fosters better interaction, enhances natural light, and creates a sense of continuity throughout your home.

Timeless Elegance: Opt for classic kitchen designs that withstand changing trends and stand the test of time. Incorporate high-quality materials such as natural stone countertops, timeless cabinetry, and sleek stainless steel appliances. These elements not only add sophistication but also increase the value of your home.

Smart Storage Solutions: Maximize efficiency and declutter your kitchen with clever storage solutions. Install custom cabinets that make use of every inch of available space. Consider pull-out drawers, rotating corner shelves, and vertical storage racks to keep your kitchen organized and functional.

Lighting Magic: Illuminate your kitchen with a well-thought-out lighting scheme. Combine ambient, task, and accent lighting to create layers of illumination. Install pendant lights above the kitchen island or dining area for a stylish focal point. Under-cabinet lighting can also add both functionality and ambiance.

Statement Backsplash: Add a touch of personality and visual appeal with a stunning backsplash. Experiment with bold patterns, mosaic tiles, or textured materials to create an eye-catching feature. A well-designed backsplash can instantly elevate the look of your kitchen and become a conversation starter.

Ideas for Small Bathroom Remodeling

Opt for a Space-Saving Vanity: Choose a compact vanity that provides storage without overwhelming the space. Wall-mounted or pedestal sinks are excellent choices for creating a more open feel.

Embrace Light Colors: Light, neutral colors on walls, tiles, and fixtures can make a small bathroom appear larger and brighter. Consider soft shades of white, beige, or pastels to create an airy atmosphere.

Install a Corner Shower or Tub: Utilize the corners of your bathroom by installing a corner shower or tub. These space-efficient options free up valuable floor space and create a visually appealing focal point.

Make Use of Vertical Space: Install shelves or wall-mounted cabinets to take advantage of vertical space for storage. Floating shelves provide a modern and minimalist look while keeping essentials within reach.

Optimize Lighting: Ample lighting is crucial for small bathrooms. Incorporate a combination of natural light, overhead lighting, and task lighting near the mirror to enhance functionality and create an illusion of spaciousness.

Mirrors for Visual Expansion: Mirrors are a small bathroom's best friend. Strategically place large mirrors to reflect light and visually expand the space, giving the impression of a larger room.

Use Sleek and Minimalist Fixtures: Choose sleek, streamlined fixtures and accessories to maintain a clean and uncluttered aesthetic. Opt for slim faucets, minimalistic towel racks, and space-saving towel hooks.

Play with Patterns and Textures: Add visual interest to your small bathroom by incorporating patterns and textures in the form of accent tiles, wallpaper, or textured walls. Just ensure they don't overpower the space.

Remember, small bathrooms can still be big on style and functionality. With these ingenious ideas, you can create a stunning small bathroom that maximizes every inch of space.

Conclusion

Discover the perfect blend of style and functionality with our premier kitchen and bath remodeling services in bustling New York City. Our expert team is dedicated to transforming your living spaces into stunning, personalized havens. Get inspired with a myriad of kitchen remodeling ideas, from open concept designs to smart storage solutions and exquisite countertops. For smaller bathrooms, we specialize in optimizing space with space-saving fixtures, strategic lighting, and clever storage solutions. Trust our craftsmanship and attention to detail to bring your vision to life. Contact us today to schedule a consultation and unlock the true potential of your home.

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antoine-roquentin · 4 years ago

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The clear subtext of the last half-decade of political upheaval has been rising impatience with how difficult it has become to enjoy things once considered the basics of life. Young people leave school saddled in debt, consider themselves lucky if they get health insurance, and are usually so far from being able to imagine owning their own homes or having real professional security that marriage or children seem like absurd, unattainable luxuries.

For older people further along in life, the logistical challenges of mere living have become so outrageous that many have committed to Dickensian work regimes, only to discover that in America, even working overtime costs money. You take a second job to pay for the child care necessitated by the first, and the little ancillary costs that seemed not so serious once — from DMV fees to getting a stove repaired to parking — now trigger a pucker factor just to consider. That’s without even taking into account all the various near-automatically bankrupting endgames built into the American experience that most people try as much as possible not to think about: serious illness, an elderly relative forced into care, divorce, surprise legal problems, etc.

The fact that a year ago, anyone thought it made sense to tell the millions of people forced daily to navigate all this stupidity that they needed to focus on a labyrinthine political controversy in Ukraine — and to blast them for deficits of “sobriety and clarity” when they didn’t — told you everything you needed to know about the cluelessness of the people who run this country.

Then the pandemic happened.

No conspiracy theories are necessary to point out that all of the institutions Americans were in the process of rejecting just a year ago have since increased their power and influence. Be it opportunism or coincidence, the international emergency has written a dramatic heel turn into our history.

A sweeping Fed-based rescue program resulted in enormous booms in asset values, allowing America’s wealthiest to increase their net worth by nearly a trillion dollars since the start of the pandemic (in mid-summer, American billionaires were collectively earning $42 billion per week). The disease pummeled people who actually had to travel to work, while empowering conglomerates like Amazon, which tripled its profits in the third quarter alone. Most of our lives are online now, an ironic reward to intelligence services that went unpunished after illegal surveillance programs were disclosed in the Obama years.

After all that upheaval, the White House is about to be re-occupied by a political fossil from the eighties, surrounded by a zombie cabinet of Iraq War supporters, drone assassination proponents, corporate lawyers, lobbyists, and neoliberal economists, coming from places like Amazon, DuPont, and Raytheon (the Pentagon appointment of the current Henry Kissinger Chair from the Center from Strategic and International Studies was a nice homage to the unchangingly vile character of America’s royal court). How bad any of this is in comparison with the chaotic presidency of Donald Trump is arguable, but it surely represents the triumph of Sameness, a powerful reminder that in America, you ultimately can’t beat City Hall. Or can you?

The news in recent years often reads like accounts of America before the Sixties upheavals. That was also a time when long-held myths were rapidly losing force and people were beginning to question the palette of life choices celebrated in places like the Book of the Month Club and Life magazine. Men wondered why they were being sent around the world to kill poor people, only to come home to what Paul Goodman described as a “style of life dictated by Personnel… to work to pay installments on a useless refrigerator.”

Women had it worse, consigned to tend house and give themselves nightly as a reward for men who’d completed their “covenant of murder” in places like Vietnam. Spirituality in much of Jim Crow America was a superficial weekly injunction to conformity at archaic churches and temples, while our real religion, consumerism, became a constant devotional exercise, bolstered by a thousand dazzling commercials for products that people began to realize fulfilled every conceivable need, but the most important.

We’re in such a similar place, and though America’s political leaders learned a great deal from those times — the list of absurd Woke Headlines run here a few days ago chronicles the extremely clever effort to commoditize and sell the desire for political action that had no permissible outlet in the sixties — the reality is, if you keep giving people nothing but crappy choices, they’ll eventually write their own story, even if they can’t do it through voting.

Americans are tired. The rancorous politics they’ve been sold as bread-and-circus diversions are tiring, not laughing is tiring, having too much work and too little money is tiring, being stuck inside now is tiring, even being sexually frustrated is tiring (look at the stats on that one sometime, if you want insight into why so many Americans seemed a tad touchy in recent years). The most exhausting part is the mandate to take it all seriously. Unfortunately for America’s leaders, that’s the easiest part to change, which is why 2021 feels like such a good candidate to be the year things finally begin turning in a happier direction.

Distortions on CNN or in the New York Times drive people crazy, but that’s only because they remember trusting those sources. They’ll forget soon and learn to walk right past mass media blather as if it were just amusingly terrible wallpaper, the way Soviets eventually did with Pravda and Izvestia. Student debt is crushing and college is an overpriced scam, but a reckoning of sorts is coming when people stop being ashamed of vocational school. Facebook and Instagram turbocharged the impact of fear-based “ring around the collar”-style marketing, but what happens when the pandemic recedes and going offline is possible again? Throwing off worries about likes and rediscovering real-life interaction feels destined to become a fashionable dissident statement, in the same way tuning in, turning on, and “dropping out” was an obvious response to the stultifying conformity of the fifties.

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darkficsyouneveraskedfor · 5 years ago

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We all go a little mad sometimes

Warnings: noncon sex (oral, m&f intercourse)

This is dark(skinny)Steve and explicit. 18+ only.

Summary: The reader makes an unexpected stop on her way home.

Note: This is my entry for @sherrybaby14‘s fall challenge. My prompt or inspiration was Hitchcock’s Psycho. So we have skinny Steve as a Norman Bates-esque creeper!

Please let me know what you think in a reblog/reply! <3 please and thank you.

April 5, 1940, just outside New York City

It was late. It felt even later after a day of driving. The trip had barely gone to plan. For one, you weren’t supposed to be alone. Your brother, Joseph, was supposed to accompany you home but instead he handed you his keys and urged you not to tell your parents about the bleach blonde in the third-floor apartment. You wouldn’t say anything; he could devise his own excuses when your mother inevitably rang him up.

She’d no doubt be maligned with you as well. A single, young woman should not be travelling so far alone. It is unseemly. It suggests a lack of morals. It puts her at risk of violation. You rolled your eyes as you heard her shrill voice in your head. Oh, it would be your usual chilly welcome. Especially without her baby boy Joey to distract her.

You sighed and kept your hands on the large steering wheel. The grooves well-worn to Joey’s fingers but much too big for yours. The sun was on its descent, the clouds an eerie shade of grey as they gathered above. The horizon had become a blur in your vision. The road unpaved and endless.

When the first drop splattered on the windscreen, you cursed. Your mother would surely have been scandalized by such language. A second, a third, a fourth, each larger than the last; each coming quicker. It wasn’t long before the sprinkle grew to a downpour. The world at once darkened and night descended with the storm.

Lightning cracked across the grey curtain and thunder nearly had you veering off the road. Your plans of driving through the night may just be spoiled by mother nature herself. You squinted through the waterfall along the screen, hunched over the wheel as you struggled to see.

A mileage marker too small to read followed shortly by another, larger sign. It’s large white letters were painted in large curlicues across the dark wood. A flash of lightning lit it up long enough to read; ‘Sarah’s Alcove Inn, 3 miles’. You blinked and stared into the distance.

You could barely see the sides of the road as your wheels ground through the wet dirt. You gripped the wheel tighter and kept your foot just atop the brake. No headlights ahead or behind. You were alone in the dark. If you kept on, you might not make it home at all.

You resigned yourself to the cost of a room and a late arrival. The less time with your mother the better. Questions of marriage and complaints about your job were best kept to a minimum. When you’d left after high school, she was disappointed. She thought you’d marry your sweetheart and have at least three babies by now. Maybe more.

You almost missed the turn. The tall sign barely visible through the rain. You slowed and pulled up the long drive that wound up the steep hill. A large house crowned its apex, the motel nestled along its shoulder. The parking lot was empty but for a truck better suited to farming.

You killed the engine and stared listlessly into the rain. The moment you opened the door, you’d be soaked. You didn’t care so much for your hair. You’d only drawn it back in a low bun for the drive.

You only wanted it to be over. You didn’t want to be as this desolate inn, you really didn’t even want to be at your parents’ home. You wanted to be in yours; but you made a promise and were not as dubious or favoured as your brother.

A single light shone from the motel. The lobby glowed in welcome as the rest of the place was unlit. A sign above the door foretold of its obvious vacancy. Perhaps the rates would be reasonable given its lack of business. If anything, the service might even be impeccable.

You stepped out into the rain. The keys jingled in your hand as you unlocked the trunk and grabbed your single suitcase. The cold drops soaked your hair to the scalps and drenched your blouse. You’d left your wool jacket in the front seat. Your shoes sank into the mud as you dashed for the front door.

A bell announced your arrival. It was unnecessary. A man sat behind the counter, a newspaper blocked his face as you entered. He folded it and set it aside as the door closed behind you and you dragged your bag across the lobby.

“Evening, Miss,” He stood. He wasn’t much taller on his feet. A small, thin man with bright blue eyes and golden hair. His smile was genial as he greeted you.

“Good evening,” You stopped before the counter and gripped the edge of it as you set down your bag. “I'd like a room, please. Single is fine.”

“You alone all the way out here?” He asked as his smile faded.

“I am,” You assured him staunchly. “You have vacancies, no?”

“My apologies, Miss, it is only in this business, we do not often have single women unaccompanied.” He explained. “I’d say it’s best you seek shelter than brave the road.” He peered behind you. Another crack of thunder and blinding flash.

“Single?” You narrowed your eyes. “How do you know that?”

“An assumption. Again, apologies. But there is no ring on your finger and...doing this, you learn to read people. It makes the job...a bit more pleasant.” He opened a ledger as he spoke. “Didn’t mean to offend though.”

“It’s fine. How much would it be?” You leaned your purse on the counter.

“Seven dollars for the night. Eight for late check-out.” He replied. “You got some I.D.?”

You took out your license and slid it over the counter. He filled out a line in his ledger and you counted out seven dollars.

“You headed somewhere?” He asked as he finished up.

“To see family.” You answered.

He looked up from the ledger and his blue eyes twinkled. “Ah. Well you must be impatient to get home.”

You nodded and took back your license as he gathered up the money. He turned and grabbed a key hanging from the set of hooks along the wall. He handed it to you with another smile.

“Room three. It’s actually a double but...upgrade is on the house.” You took the key and clung your purse from your shoulder. You bent to grab your suitcase but paused as he continued. “Wait, miss, I’ll get your bag. We’re small but we do offer basic service.”

He came around the counter. He looked even smaller without the barrier between you. “I’m Steve, by the way. If you need anything, well, I’m the only around here to ask.”

You figured he already knew your name, having written it down. He lifted your suitcase with a suppressed grunt and you watched him open the door.

“Do you own this place?” You asked.

“No, it’s my mother’s motel. Hence Sarah’s. I just take care of it.”

He waited for you to go ahead of him. He directed you down the long patio that fronted the series of rooms and you stopped at number three. You unlocked it and you entered as he followed.

“I installed all the wiring. We have power in all the rooms.” His voice was proud as he set down your bag. “Full amenities. Shower, tub, toilet. We redid them all last year.”

“Oh,” You looked around as he flipped on the lights. Everything was well-kept. The carpet finely patterned and lightly worn; the bed perfectly dressed, and the wallpaper without a smudge. It was nicer than you expected. “Thank you, sir.”

“Steve,” He corrected. “And not at all. It’s my job and my mother raised a gentleman.”

“Well, thank you, Steve,” You took out some change for a gratuity. “You really didn’t have to do all that.”

“No tip needed, miss,” He shook his head. “Really. You have yourself a good night.” He backed away but caught himself at the door. “Oh, forgive me, I didn’t ask, did you need supper?”

“No, no, but thanks again,” You assured him. “Good night...Steve.”

“Good night, miss.” He turned and left you.

The door clicked shut behind him and you let out a breath. You were tired from the day of driving and just wanted to sleep. Though, a shower sounded delightful after the cold rain. You kicked off your shoes and placed them neatly by the door. You let down your hair as you placed the key on the bedside table and stretched.

You entered the bathroom. Modest but clean. You turned the faucet on and drew the curtain. You unbuttoned your damp blouse and slipped out of your skirt. You hung your clothes on the door to dry and unclasped your garters from your stocking. You bunched up your undergarments and left them on the floor as you stepped into the porcelain tub.

Your head fell back as you stood under the stream. Your muscles were cramped from hours of sitting behind the wheel. You closed your eyes and basked in the steam. You lost track of time as the heat embraced you and sleep became even more tempting. Your eyelids flickered and you opened them.

Your heart skipped and you looked to the curtain. You swore there was a shadow there. You grabbed the edge and pulled it back. The water splashed off your body and onto the tile. Nothing. No one. Just the half-closed door and your wrinkled clothing.

You shut off the shower and stepped out. You wrapped yourself in the towel and passed into the main room. Nothing was amiss. Shoes by the door, suitcase unopened, the bed untouched. You shook your head and laughed at yourself.

You delved into your suitcase and dug out a sleeping gown. You dressed slowly. You sat on the double bed and rubbed your eyes. You were so tired and yet on edge. Something felt off yet you couldn’t place it.

You were imagining things. The whole day had gone awry and so now you were searching for other roadblocks. Sleep. That would clear your head. Some rest before you faced your mother and her disappointment.

Steve was ready for a quiet night when she walked in. He was ready to take down the vacancy sign and shut off the lights. Ready to check on his mother and turn in for the night. Ready to be alone. Again.

Even when the motel was bustling, he was alone. No one paid much attention to the skinny innkeeper. Even as he was fluffing their pillows and carrying their bags. But he enjoyed observing the characters who passed through. The businessmen and the women who weren’t their wives; the family on a road trip; the couple celebrating an elopement.

She was a rarity. In fact, she was completely singular. He expected a man to follow her but it was only her. She was confident for a woman on her own but not arrogant. Not like the women in the city. Those who laughed at him and not his jokes.

And she spoke to him as a man. Not a boy. Not like the other women. Not like his mother. And the way her blouse clung to her chest from the rain. The way her skirt hugged her hips and she seemed entirely ignorant to the effect of her appearance. She didn’t even notice as his eyes strayed when she reached into her purse. Or when she bent to grab her suitcase.

Of course, he had to help her. Her bag was heavy but not unmanageable. He followed her to her room. She was friendly. She thanked him, didn’t dismiss him. Didn’t even seem to mind his presence. As he closed her door behind him, he lingered and listened. Her soft footsteps, the gentle movements, the shadow of her against the drapes.

He reflected on their short conversation. He barely got a word out of the businessmen. They thought if they pulled their hats low enough, they could maintain their cover. The newlyweds were too obsessed with each other to notice him and the parents were run wild by their children. But she talked to him.

Rain splashed over the rail and dripped from the wooden awning. The thunder was distant, barely noticeable as the storm retreated. It had come for a reason, hadn’t it? It had guided her to him. It must be for a reason. For her to walk through his door so late. Alone.

He heard the shower. His heart leapt and he placed his hand against the door. She hadn’t locked it. At least, he hadn’t heard it turn. He listened a little longer. His hand was on the handle and it seemed to turn of its own will. He peeked inside. Her suitcase was where he’d left it, her shoes by the door.

Water pattered against flesh and porcelain. He neared the bathroom, each breath taken with care as he listened for his detection. When he reached the door, his heart was in his throat, pounding in his temples. He eased the door open a little at a time. His eyes widened as he stared at the curtain.

He could see her blurred figure through the thin fabric. He gasped but the faucet muted his voice. He gulped as he watched her small movements. Her shoulders slumped as she hung her head back and arched her back in a stretch. He watched her for a moment before he recalled himself.

He backed out of the room and closed the door behind him. The rings of the curtain rang as it was pulled back and the shower died. He blinked. She would find him here. He looked around as he heard her wet feet on the tile. He darted to the closet and ducked inside. The door closed just as she entered the bedroom.

He could see her just through the small crack. He prayed she didn’t put her clothes away. She seemed in a hurry. It was doubtful.

She looked around. Did she know he was there? Had she seen him through the curtain? A small laugh rose from her and she crossed the room. She sifted around in her bag and neared the bed. He watched through the slit as she dropped the towel. She dried her hair with it and he was hypnotized by the curves of her body.

She took the sleeping gown and pulled it over her head. Just that. He didn’t know women slept without undergarments. Or maybe it was just her. He wondered about her. He could tell she was from a city. She had that air to her. Had she been touched before or was she as inexperienced as him?

Either way, it didn’t keep his cock from twitching. He couldn’t say which he prefered. The sweet virgin or the deceptive tart.

She sat on the bed and rubbed her eyes. She didn’t move for a few minutes. She sighed and laid back. She pulled her legs up under the duvet and reached over to pull the chain on the lamp. The room went black and he listened to her breathing. She tossed and turned a few times but it wasn’t long before soft snores rose in the dark.

You rarely slept so well. It was a heavy sleep; one in which your dreams meshed with reality. It was hard to tell what was real and what wasn’t. Everything felt so intense. The rain turned to ribbons around you and as they landed, they grew to hissing snakes as they wrapped around your limbs. Each constricting you so tight you couldn’t move. A crack of thunder and the sky turned black.

Another and you were awake. Your vision was hazy. The room slowly came into focus as the lamps glowed from beside you. You swore you had turned them off. You tried to sit up but found yourself restrained. The snakes from your dreams were lifeless but just as strong.

Your nylons were wound around your wrists and tied to the bedposts. They got tighter as you tugged and you tried to kick out. Your legs were similarly restrained; your blouse around your left ankle, your skirt around the right. Your voice was muffled by the wad of fabric in your mouth; your own panties shoved as deep as they could go.

You squirmed as a shadow moved on the ceiling. You could hear the footsteps; light, methodical. Rounding you; taunting you. You turned your head and barely caught a glance of the figure. A golden crown in your peripheral. You whined into the silk and pulled again.

“Shhh,” Steve came into view. Your blood froze as he held your nightgown in his hands. He rubbed it between his fingers as he looked down at it. Admiring it. “It’s okay, dear.” He hung the gown from two fingers and watched the skirt sway. “I don’t want to hurt you. I would never do that.”

You looked down. You were naked. You wondered how you hadn’t been disturbed. Your eyes went wide and you glanced at the bedside table. The key was still there. You forgot to lock the door. He drew your attention as he bundled up the gown in his hands. He brought it to his face and inhaled the scent.

“You smell like roses,” He smiled and turned to drape it over the chair. “We have some in the garden. Pink roses from England. I grew them myself.” He neared the bed and looked down at you. He reached to drag his fingers along your side. “My mother hates roses. She always preferred tulips.” He sat on the edge of the bed, his hand settled on your side. “She always prefers the opposite of whatever I do.”

You watched him. His bright blue eyes were dilated. Dark. His friendly smile had turned sinister. He tickled along your stomach, his gaze followed his touch.

“If she knew you were here, an unmarried woman without an escort, well, I’m afraid you’d not be allowed a room,” He continued. You could only stare at him; helpless. Weak. “She’d say you must be some sort of…” His hand drifted lower and hovered just above your pelvis. “Harlot.”

You shuddered as his hand crawled back along your stomach and traced below your tits. He was enthralled by his fingers; by your body.

“She’s one to talk. Never even knew my father. She lied and said he was a soldier. Drafted. He wasn’t. Well, we at least can’t be sure. He could be one of several men; soldier or not.”

He chuckled and rescinded his hand. He stood and the bed shifted slightly. You could see his excitement.

He unbuckled his belt and undid his high-waisted pants. The shirt he wore fell loose. It was much too big for him. You looked around as your chest rose and fell quickly. The panic rose which each second. Even if you could scream, who would hear you?

“Please, don’t be afraid.” You looked at him again. His shirt was open to reveal his chest; bony and hairless. “I only want to...try.”

You shivered as he continued to undress. His shirt hung over the chair with his trousers, his shoes and socks neatly placed below. Each piece removed carefully. An order to his actions.

He stared at you as his fingers danced along the waist of his undershorts. His golden brows raised as his eyes roved over you and he grinned. He pulled them down in a single motion. He stood straight, almost proud.

He was bigger than the rest of his appearance would suggest. Well, as far as you could judge. You’d only seen two men in your life and had never gone further than some games in the back of a car.

He grabbed his cock and stroked it as he stepped up to the bed. You tried not to look as he got closer. He leaned his knee on the bed as his hand continued to move.

“I’ve heard women can do things with their mouths.” He reached over with his free hand and took the gag from your mouth. “Have you ever used your mouth on a man?”

You shook your head and closed your eyes. He cradled your chin and rubbed his thumb along your jaw. He pulled away and the bed sank beside you. You peeked as he climbed up over you. He set his feet on either side of you and lowered himself to his knees. He knelt over your head and you turned away from him.

He grabbed your chin and ran the tip of his cock along your lips. He held your head in place and pressed harder against your mouth. He moved his hand to pinch your nose shut and you gasped. He slipped inside as his hand moved to your hair. He pushed himself to the back of your throat and you spasmed. He pulled back a little before delving back in.

He moved slowly at first. His cock prodded the back of your throat each time. With every thrust he ventured a little deeper. Just until you gagged and he retreated to allow you a breath. Your eyes pricked with tears and the room around him blurred. His groans filled your head as he sped up. Then he stopped.

“I’m sorry,” He pulled out of your mouth and back up. He slid down your body and sat back on his heels between your legs. “I got a little carried away. I almost…” He bit his lip.

He lowered his eyes. He focused on your pussy. You wanted to close your legs. He dragged his fingers along your thighs and pelvis shyly. His face betrayed a sense of wonder. As if even he could not believe what he was doing.

He pulled apart your lips and slid a finger along your folds. You were wet. He spread your juices with his fingers and you flinched as he glided over your clit. He tilted his head and repeated the motion. You tensed. He did it again and again and again. Each time spurred by your struggle not to squirm.

He moved back and bent over you. He watched his hand as it played with you and you felt his breath. You bit down as he bowed his head to you and felt a sudden coolness. His tongue swirled around your clit as his fingers pushed between your folds.

He traced your opening as he used his mouth on you. He lapped and suckled. His blue eyes met yours as you looked down at him and he smirked as he drank you in. You closed your eyes and groaned. Your thighs buzzed and he pushed on them as he pressed himself closer.

You squeaked as the nerves gathered beneath his tongue. You shook at the unexpected spike and cried out. You’d never felt anything like. Anything so deep. So amazing. So natural. He didn’t stop until you were breathless and weak.

He sat up. His lips shone with your cum. He licked them with a delighted mmm and moved closer. He knelt between your legs. He leaned over you, an elbow on the bed, as he held himself up. He kissed you and you turned away.

He grabbed your chin and forced his lips against yours. You could taste yourself on him. He trailed along your cheek and jaw and buried his face in your neck. He smelled you and purred.

“You smell so sweet.”

He reached down and pushed the head of his cock against your bud. He angled it down along your folds and you wriggled. It was futile as you were held in place by your bounds. He stopped at your entrance. He pressed himself there but did not enter. He raised his head and slid his arm beneath your head as he kept his weight on it.

He pushed inside just a little. Just his head and you gritted your teeth. A little more. You kept your breath steady and swallowed your whimpers. He didn’t look away as he sank into you an inch at a time until you full. He exhaled, as if relieved, as if happy. You grunted as he moved his hips.

He was slow. He rocked out of you and back in. He hummed as your walls hugged him and you felt another stir. The same unknown sensation as before. An echo growing louder with each tilt of his pelvis.

He pushed himself up and sat back on his knees. He slid his hand beneath you and grabbed your ass as he lifted your pelvis. His eyes clung to his cock as it glided in and out of you. He grinned and bared his teeth.

“You…” He breathed. “You are a virgin.”

He kept you at an angle as he thrust harder and harder. The sound of your flesh against his, sweaty and slick, was sickening and somehow intoxicating. He sped up as he moaned louder and louder. He kept a hand on your ass as he snaked his other up to your hip.

“Ah, god,” He hissed. “I...I…”

His voice caught and you grabbed onto the nylon. The ripples washed over you suddenly and you were lost in the tide. You cried out as you came and dug your heels into the mattress. You panted through the after waves, the flurry slowly wound down.

“Oh, oh, I…” He jerked into you, his hips spasmed and you felt a warmth mingle with the heat that lingered within you.

His thrusts slowed and he eased to a stop. He exhaled and pushed his shoulders back. He panted until his breaths evened out and pulled out carefully. A sudden flow gushed from you and his blue eyes sparked as he looked down at your pussy. He dragged his fingers through the mess and spread his cum along your folds.

“A girl like you shouldn’t be out here all on her own.” He mused as he lined himself up again. He was getting soft but it didn’t keep him from sinking to his limit. And yours.

#Steve Rogers #steve rogers x reader #dark!steve rogers #dark steve rogers #dark!steve rogers x reader #dark steve rogers x reader #dark fic #dark!fic #fic #au #writing challenge #sherrybaby14 #darkverse #dark!verse #mcu #marvel #captain america #skinny steve rogers #1940s au

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cooperhewitt · 6 years ago

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Top 100 Objects 2018

Sidewall, Wallpaper with space stations and rockets, ca. 1950

Poster, Mexico 68, 1967

Dessert Fork (France), ca. 1890

Poster, Eye Bee M (IBM), 1981

Print, Lapis Polaris pl. 2 of Nova Reperta, ca. 1575

PillPack, 2013

Poster, Tropon est l’aliment le plus concentré (Tropon, the most concentrated food supplement)

Poster, This is the Enemy, 1943

Poster, Iceman, 1978

Poster, Dylan, 1966

Drawing, Plan Development and Elevation for a Spiral Staircase that Turns to the Right, March 1886

Poster, Stefan Sagmeister, AIGA Program, Detroit, 1999

Print, Plate, from a series of designs for ewers and vessels

Drawing, Sir Lawrence Alma-Tadema’s Study, Townshend House, London

Bidet (France)

TV8-301 Portable Television, 1959

Print, Floral and Acanthus Leaf Design, 1740

Poster, The Supreme Court, 1977–79

Model 410 Meat Slicer, 1940

Staircase Model (France), late 19th century

Shopping Bag, Faces of a Man and a Woman, Bloomingdale’s, New York, NY, ca. 1978

Sampler (England), 1887

Poster, Censorship is Un American, 1990

Print, Citibank checking deposit slip design, ca. 1975

Spun Chair, 2010

Porca Miseria! Hanging Lamp, 2000

Poster, There Is No Finish Line, 1977

Muji Wall-mounted CD Player, designed 1999; manufactured 2013

Poster, Knoll International, 1967

Sidewall (USA), 1936–54

Drawing, Concept Car

Textile (France), 1775–1800

Pill Bottle, AdhereTech Smart Pill Bottle, 2016

T-86 Round Thermostat, 1953

Predicta Television, 1959

Poster, California Institute of the Arts, 1978

Poster, America’s Answer! Production, 1942

Surtout De Table (Table Centerpiece) (France)

Poster, The Diva is Dismissed, 1994

Drawing, Design for Visionette Portable Television, 1947

Model 500 Telephone, Designed 1953, this example ca. 1980

Earrings (France), 1989

Poster, Nihon Buyo, 1981

The Reds versus the Whites Chess Set

“Barwa” Chair, introduced 1947

“Dirigold” Spoon, introduced 1926

Textile (France)

Poster, The Miller Blues Band, 1967

Print, Acanthus Leaf Design, Divers Ornements, l’Epoque Louis XV (Various Ornaments, The Era of Louis XV), 1740

Print, Perpetual Calendar, 1594

Drawing, Design for Atrium

Print (France)

Tricorne and Streamline Tableware, 1934

Poster, Manpower Temporary Services, 1979

Poster, New York City Ballet, 1974–75

Poster, Schützt das Kind! [Protect the Child!], 1953

Drawing, Elevation and Plan View for a Spiral Staircase, March 30, 1886

Specimen, Heldane typeface, 2014

Printer’s Sample Book (USA), 1880–81

Album Cover, Talking Heads: Remain in Light, 1980

TR-620 Portable Radio, 1960

Textile, Skyline, 1958

Poster, der Film [Film], 1959–60

Poster, AIDS Crisis

Poster, Tomato: Something Unusual Is Going on Here, 1978

Remington Noiseless Portable Typewriter, 1925–30

Sidewall (USA), ca. 1936

Poster, LIGHT/YEARS, 1999

Scenic (China), 1795–1850

Scenic Wallpaper, Landscape No. 1, 2017

Poster, Don’t Let That Shadow Touch Them, 1942

Print, Perspectiva: Corporum Regularium, 1568

Poster, Adler Typewriter, 1909–10

Drawing, Phillips Exeter Library, Exeter, NH: Sketch of Plan with Elevations, ca. 1967

Wall Graphic, Humanscale: Measurements of 2.5, 50, and 97.5 Percentile U.S. Females, 1974–1981

Book, I Wonder What It’s Like To Be Dyslexic, 2013

Textile (England), 1785–95

Drawing, Four Floor Plans, Villa Stein-de Monzie, Garches, France, 1926

Installation, Body Scan, 2014

Print, Citibank cashier’s check design, ca. 1975

Volksempfänger Radio, ca. 1933

Poster, Bob Stewart and Arthur Blythe, Jazz Festival Willisau, 2005

Sidewall, The Peacock, ca. 1890

Waterwitch model MB 571.11 Outboard Motor, ca. 1937

Textile, late 18th–early 19th century

Domino Paper (France), ca. 1750

Drawing, World Trade Center Transportation Hub, New York, NY: Sketch, ca. 2014

iMac Computer With Keyboard And Mouse

Embroidery Sample (France), late 18th–early 19th century

Poster, Someone Talked!, 1942

Baptistry or Church Architectural Model, 1782

Drawing, Galician Center of Contemporary Art, Santiago de Compostela, Spain: Concept Sketches, 1988–93

SC 7300 Stereo System, 1973

Qwip 1200 Facsimile Transceiver And Acoustic Coupler, 1976–78

Textile, Origami Pleat

Drawing, Concept Design for Air Jordan XIII Sneaker

Book Cover, A Streetcar Named Desire by Tennessee Williams, 1947

Textile (India), 1725–50

Drawing, Elevation and Plan for a Staircase Model in the English Style, 1836

Sidewall (France), 1905–1913

from Cooper Hewitt, Smithsonian Design Museum http://bit.ly/2DYMMPh via IFTTT

#cooper hewitt #design conversations

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aumworspace · 2 years ago

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Small Home Interior Design for Workspace by Aum Workspace

Aum Workspace has been involved in interior designing in New York City for more than a decade, and that's why we know what the trending designs are that will keep our customers looking for 10 years or more. We are totally available and able to provide the best and modern interior designing for a longer time. Because the work of interior designing is not only for a short time, because sometimes we have to stay in a place for a long time, then it becomes necessary to make maximum utilization of that place, for this a great and creative mind can also do such interior design. Used for what is in our experts.

Our experts offer various types of Interior Designing facilities to our customers who work to provide them with the best service to make the most of any small and limited space. If we tell you this in detail with some examples, then the contribution of home office inspiration is more under the interior designing service provided by Aum Workspace, under which different types of creative ideas are seen as follows-

1. L-Shaped Design: With the L-Shaped Deisgn, any small space is designed as an L-Shape home office, converting any narrow space into a spread out and cossy and casual shelf .

2. Seamless Design: Seamless Design, which allows you to install another integrated furniture inside your walls. You must have seen that many times large beds or furniture are glued on many big walls and they are taken out separately and used. Sometimes a seamless design comes in handy to make the most of small spaces.

3. Millennial Pink: Millennial Pink is a design under which the surrounding environment is transformed into a comfort pink color environment, after which if used by an office work post, it sends a lot of positive vibes to the mind.

4. Another design which is known as Space Factory is a small design for Home Office which becomes a way for any person to make the most of their residential home. This is a French method in which the roof of the house is converted into an office.

5. Make it Personal: Make it personal is a type of Small Home Interior Design that allow the owner to use their place with great technical and Natural adoptability. This is ‘the most used’ Small Home interior design in NY.

There are different types of Small Office Interior Design Ideas like bulb light, cool coffee, wall mounted desk, repurpose the vanity, vintage minimalist, split level, short commute, back door, boho style, old world, minimalist, ceiling wallpaper, biophilia, Internal lighting, organized wall, there are different types of designs that do small office interior designing work for you. Aum Workspace provides the best Small Office Interior Designing Ideas for Small Home Office Interior Designing for work space which our customers really like.

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Small Home Office Interior Design For Workspace

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#Lighting in Workspace NY #Ergonomics Design Ideas NY #Ergonomic Office Design NY #Small Office Interior Design Ideas #Small Home Office Interior Design For Workspace

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mgppaintingservice · 3 months ago

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Transform Your Space with Top-Rated Residential and Commercial Painting Services in Rockland County

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futuristictyranteagle · 3 years ago

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Wallpaper Market Size, Share With Top Companies, Region Forecast 2021-2027

Wallpaper Market 2020-2026

A New Market Study, Titled “Wallpaper Market Upcoming Trends, Growth Drivers and Challenges” has been featured on fusionmarketresearch.

Description

This global study of the Wallpaper market offers an overview of the existing market trends, drivers, restrictions, and metrics and also offers a viewpoint for important segments. The report also tracks product and services demand growth forecasts for the market. There is also to the study approach a detailed segmental review. A regional study of the global Wallpaper industry is also carried out in North America, Latin America, Asia-Pacific, Europe, and the Near East & Africa. The report mentions growth parameters in the regional markets along with major players dominating the regional growth.

Wallpaper is a kind of material used to cover and decorate the interior walls of homes, offices, and other buildings; it is one aspect of interior decoration. Due to its variety of characteristics that other interior decoration materials cannot compare, such as color diversity, rich patterns, security and environmental protection, convenient installation, appropriate price, and so on, it has considerable popularity in Europe, United States, Japan and other developed countries and regions.

Request a Free Sample Report @ https://www.fusionmarketresearch.com/sample_request/(COVID-19-Version)-Global-Wallpaper-Market-Status-(2015-2019)-and-Forecast-(2020-2025)-by-Region,-Product-Type-&-End-Use

The report offers detailed coverage of Wallpaper industry and main market trends with impact of coronavirus. The market research includes historical and forecast market data, demand, application details, price trends, and company shares of the leading Wallpaper by geography. The report splits the market size, by volume and value, on the basis of application type and geography.

First, this report covers the present status and the future prospects of the global Wallpaper market for 2015-2024. And in this report, we analyze global market from 5 geographies: Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia], Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland], North America[United States, Canada, Mexico], Middle East & Africa[GCC, North Africa, South Africa], South America[Brazil, Argentina, Columbia, Chile, Peru].

At the same time, we classify Wallpaper according to the type, application by geography. More importantly, the report includes major countries market based on the type and application. Finally, the report provides detailed profile and data information analysis of leading Wallpaper company.

Key Companies Asheu A.S. Cration Tapeten Marburg Brewster Home Fashions York Wallpapers Osborne&little Zambaiti Parati Sandberg Arte-international ROMO Filpassion Grandeco Wallfashion Sangetsu Co., Ltd. Texam CASADECO LEWIS & WOOD Walker Greenbank Group Linwood Lilycolor HOLDEN D’COR Dongnam Wallcoverign Shin Han Wall Covering Uniwal Euroart Artshow Wallpaper TELIPU Decoration Materials Beitai Wallpaper Rainbow Yulan Wallcoverings Roen Wallife Coshare Yuhua Wallpaper Crown Wallpaper Wellmax wallcovering Yuanlong wallpaper

Market Segment as follows: By Region Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia] Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland] North America[United States, Canada, Mexico] Middle East & Africa[GCC, North Africa, South Africa] South America[Brazil, Argentina, Columbia, Chile, Peru]

Market by Type Vinyl-based Wallpaper Pure Paper Type Wallpaper Non-woven Wallpaper Fiber Type Wallpaper Other Type Wallpaper

Market by Application Household Office Entertainment Places Other Buildings

Ask Queries @ https://www.fusionmarketresearch.com/enquiry.php/(COVID-19-Version)-Global-Wallpaper-Market-Status-(2015-2019)-and-Forecast-(2020-2025)-by-Region,-Product-Type-&-End-Use

Table of Contents

Part 1 Market Overview 1.1 Market Definition 1.2 Market Development 1.2.1 Current Situation 1.2.2 Aspects of COVID-19 Impact 1.3 By Type Table Type of Wallpaper Figure Global Wallpaper Market Share by Type in 2019 1.4 By Application Table Application of Wallpaper Figure Global Wallpaper Market Share by Application in 2019 1.5 By Region Figure Global Wallpaper Market Share by Region in 2019 Figure Asia Wallpaper Market Share by Region in 2019

Part 3 Global Market Status and Future Forecast 3.1 Global Market by Region Table Global Wallpaper Market by Region, 2015-2019 (Million USD) Figure Global Wallpaper Market Share by Region in 2019 (Million USD) Table Global Wallpaper Market by Region, 2015-2019 (Volume) Figure Global Wallpaper Market Share by Region in 2019 (Volume) Table Price List by Region, 2015-2019 3.2 Global Market by Company Table Global Wallpaper Market by Company, 2015-2019 (Million USD) Figure Global Wallpaper Market Share by Company in 2019 (Million USD) Table Global Wallpaper Market by Company, 2015-2019 (Volume) Figure Global Wallpaper Market Share by Company in 2019 (Volume) Table Price List by Company, 2015-2019 3.3 Global Market by Type Table Global Wallpaper Market by Type, 2015-2019 (Million USD) Figure Global Wallpaper Market Share by Type in 2019 (Million USD) Table Global Wallpaper Market by Type, 2015-2019 (Volume) Figure Global Wallpaper Market Share by Type in 2019 (Volume) Table Price List by Type, 2015-2019 3.4 Global Market by Application Table Global Wallpaper Market by Application, 2015-2019 (Million USD) Figure Global Wallpaper Market Share by Application in 2019 (Million USD) Table Global Wallpaper Market by Application, 2015-2019 (Volume) Figure Global Wallpaper Market Share by Application in 2019 (Volume) Table Price List by Application, 2015-2019 3.5 Global Market by Forecast Figure Global Wallpaper Market Forecast, 2020-2025 (Million USD) Figure Global Wallpaper Market Forecast, 2020-2025 (Volume)

….

Part 9 Market Features 9.1 Product Features 9.2 Price Features 9.3 Channel Features 9.4 Purchasing Features Part 10 Investment Opportunity 10.1 Regional Investment Opportunity 10.2 Industry Investment Opportunity

PART 11 Coronavirus Impact 11.1 Impact on Industry Upstream 11.2 Impact on Industry Downstream 11.3 Impact on Industry Channels 11.4 Impact on Industry Competition 11.5 Impact on Industry Obtain Employment Part 12 Conclusion

Continue…

[email protected]

PH : +(210) 775-2636

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architectnews · 3 years ago

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kister scheithauer gross Aedes Architecture Forum

Aedes Architecture Forum Kister Scheithauer Gross Exhibition 2021, Germany Design Show News

kister scheithauer gross at Aedes Architecture Forum

12 August 2021

kister scheithauer gross Exhibition in Berlin

Exhibition: kister scheithauer gross architekten und stadtplaner GmbH

Working Title: BRICK

Hochschule, Bremerhaven; Photo: Yohan Zerdoun

Exhibition: 18 September – 11 November 2021

Opening: Information will follow

Venue: Aedes Architecture Forum, Christinenstr. 18–19, 10119 Berlin

Opening Hours: Tue–Fri 11am–6.30pm, Sun–Mon 1–5pm and Sat, 18 September 2021, 1–5pm

Hochschule Bremerhaven, Germany: photo © Yohan Zerdoun

Brick Buildings by kister scheithauer gross architekten und stadtplaner

Twenty-five years ago, kister scheithauer gross completed its first brick building, the Institute for Biology in Halle. The replicated used brick of the façade is situated in the city centre in a self-evident way, and stands there today, still untouched by time. This is the starting point for the exhibition, which presents earlier brick buildings by the firm anew, along with current projects and buildings.

Building in brick implies an ability to adapt to a location and its atmosphere as well as social structures. The regional identity and character of cities are often associated with a specific type of brick. At a time of digital production, brick factories today are almost anachronistic places, where elementary work processes with lots of manual work take place and the brick is given its specific sand-coloured, reddish-orange, or sometimes greenish shade through the firing of the minerals in the clay soil. Each stone is thus a unique specimen and as a haptically rich product also helps the architectural project tell its own story. On the basis of filigree paper models set on brick bases, the exhibition presents eight projects by kister scheithauer gross, which has been designing and working with the sustainable and sensual material for a quarter of a century.

Bernhard-Nocht-Institut, Davidstraße, Hamburg, Germany: photo © H G Esch

The Approach: Each project, each building has its own history of creation. The colour, size, and composition of the bricks form a distinctive unit along with the mortise, which rounds off the individual brick picture with its width and colour. It is necessary to think starting from the building corpus and only then to develop a concept for the brick, and thus design a surface. If a building is not conceived based on its volumes, the façade remains mere wallpaper. The aim is to have the brick develop an architectural effect and become part of the composition as a whole.

In addition to the Leibniz School of Education (LSE), Hannover, the Alfred Wegener Institute (AWI), Bremerhafen, the Centre for Ageing, Reliability and Lifetime (CARL), Aachen, and the Bernhard Nocht Institute (BNI), Hamburg, in the exhibition installation, which in itself is a building layout made of brick, the following projects and buildings are presented:

HolidayInn, Lohsepark, HafenCity, Hamburg, Germany: photo © H G Esch

The HolidayInn in HafenCity in Hamburg is characterized by the interplay of the rhythmic structure of the façade with its columns and pilaster strips in a bluish red-violet brick and the varying arrangement of the window elements, which break up the façade and hence give it a unique dynamic.

The light pink-beige brick of the new BIOM laboratory, teaching, and office building of the University of Bremen visibly freshens up the dark-coloured stone of the surroundings. The thin format of the bricks emphasizes the length of the building and also gives it the necessary lightness.

The new building of the WiSo Faculty of Management, Economics and Social Sciences in Cologne contrasts with the old building with its elegant mortise, but takes up reference to it again with the rhythmic structure and materiality of the façade of brownish-clay-coloured brick.

The ZWEI ensemble of residential buildings in Hannover with its circle geometries gives rise to a dynamic of striving as a result of the rhythmic arrangement of the projecting cornices. The lightbeige- red terracotta clay of the brick gives the impression of ‘hand-processed’ pottery vessels.

Parkhaus Pressehaus, Bremen, Germany: photo © H G Esch

The Firm kister scheithauer gross stands for an intensive dialogue between site and typology. This superordinate context is the basis for the development of concrete building sculptures whose symbolic character shapes the site and type from abstract visions.

Johannes Kister und Reinhard Scheithauer established the firm Kister Scheithauer & Partner as young partners in 1992. Since 1997, Susanne Gross has been part of the firm as the third partner, which now operates under the name kister scheithauer gross. She teaches design at the university in Wuppertal, while Johannes Kister teaches at the Anhalt University of Applied Sciences at the Bauhaus in Dessau. The firm shaped the campus there with its urban and architectural form to a significant extent.

WinWin, Mediahafen Düsseldorf, North Rhine–Westphalia, Germany: photo © Linus Reich

From its offices in Cologne, Leipzig, and Berlin, nearly 100 architects around Germany tackle the realization and transformation of high-rise buildings and the development of urban-development and interior design concepts. One particular focus is on the planning of highly specialized laboratory and institute buildings for the research landscape in Germany. Two of the four high-security, biosafety level 4 laboratories in Germany, for instance, were thus created by kister scheithauer gross.

Exemplary projects are the Double Church for Two Faiths in Freiburg, the “Siebengebirge” in Cologne, the university campus in Bremerhaven and Cologne, the Händelhaus Karree in Halle/Saale, and the master plan for the Gerling area in Cologne. Further milestones in the history of the firm are the transformation of the Quelle complex by Ernst Neufert in Nuremberg as the second-largest building in the Federal Republic and the new construction of the Laurenz Carré opposite the south portal of the Cologne Cathedral.

WiSo Köln, North Rhine-Westphalia, Germany: photo © H G Esch

An Aedes catalogue will be published.

Further information: www.aedes-arc.de

Generously supported by: Backstein-Kontor, Handel und Service mit Baustoffen GmbH

Aedes Cooperation Partners: Zumtobel, Cemex, Camerich, Carpet Concept

Kister Scheithauer Gross at Aedes Architecture Forum Berlin images / information received 120821

Location: Christinenstr.18-19, 10119 Berlin, Germany

Aedes Architecture Forum Exhibitions

Francis Kéré Francis Kéré at Aedes Architecture Forum

Zhang Ke Micro Yuan’er Children’s Library and Art Centre, Beijing © ZAO/standardarchitecture, Su Shengliang Zhang Ke, Beijing Exhibition at Aedes Architecture Forum

TCHOBAN VOSS TCHOBAN VOSS at Aedes Architecture Forum

Dorte Mandrup Dorte Mandrup at Aedes Architecture Forum

Archi-Tectonics – Winka Dubbeldam & Justin Korhammer, New York picture © Archi-Tectonics Archi-Tectonics Architecture Event

German Architectural Designs

Berlin Architecture

German Buildings

Architecture Exhibitions Europe

AEDES Network Campus Berlin Event

Danish Architecture Centre Events

Netherlands Architecture Institute Events

Comments / photos for the Kister Scheithauer Gross at Aedes Architecture Forum Berlin page welcome

The post kister scheithauer gross Aedes Architecture Forum appeared first on e-architect.

#e-architect

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correspondencearchive · 4 years ago

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5. Naomi Kawanishi Reis & Alex Paik

Naomi Reis and Alex Paik discuss childhood survival mechanisms manifesting in their work, in-between-ness, their labor-intensive practices, and Naomi’s recent body of work which was shown at Transmitter (Brooklyn, NY).

Alex Paik (AP): You’ve been thinking about camouflage in an ongoing series of your work, and it strikes me that this idea of hiding and/or being invisible is central to your work. Now that I think of it, even your work in grad school, which was about these sort of hybrid utopic (or dystopic) architectures had this silence in them. There were no figures and no real record of anyone having lived or living in those imagined spaces, like they were erased or hidden. When you started talking about camouflage in recent years it really was an a-ha moment for me in understanding your work. I’d love to hear your thoughts more on the invisibility of Asians in general in the art world and the ways in which that feeling might be a part of your work.

Naomi Kawanishi Reis (NR): Camouflage was something I started using about eight years ago, in a series called Borrowed Landscape. The series was based on photographs I took in the tropical biomes of conservatory gardens, a take on landscape painting where the “nature” being depicted was a highly curated by-product of Western colonialism. Plants that were highly useful/exploitable/profitable/exotic and beautiful, collected in a place that existed outside of time, secreted away from the effects of weather and death. I translated those photographs onto printed wallpaper, upon which was placed a framed mixed-media painting that replicated a portion of the wallpaper behind it.

Naomi Reis, Borrowed Landscape II (Tropics of Africa, Asia and the Amazon via Brooklyn), 2013. Digital print on vinyl and handcut washi and mylar cutouts in maple frame, 13.5 x 14 feet. Installation view at Susan Inglett Gallery, New York, NY in “American Beauty,” curated by William Villalongo. Photograph by Jason Mandella.

NR: I was thinking about how landscape has been used in image-making throughout history to depict idealized places—like Pure Land paradise in Buddhist mandalas, the Taoist spiritualism of Chinese or Japanese landscape paintings, and the glorification of nature found in Romantic landscape paintings.

The title “Borrowed Landscape” comes from a 7th-century Chinese garden design concept (shakkei=借景, a technique of “borrowing” the view of a distant scenic element, like a mountain or lake, into the design of the garden), which felt like a fitting title for where we find ourselves today in relation to landscape. Living on borrowed time, on stolen land: ignoring the reality of our responsibilities to the land, the indigenous people it was stolen from, and the debt owed to stolen Black bodies and labor in service of white supremacy. The handmade framed painting, I suppose, is a stand-in for us as immigrant settlers on this land here in America; we’ve camouflaged ourselves into our surroundings to fit in, to survive. The land we are attempting to fit into, is itself “borrowed” (aka stolen).

These choices weren’t made consciously when I started the series; it’s only now eight years in that I’m beginning to understand the why, and finding the words to explain it. As a diasporic, racialized person both in America as well as in Japan, I’ve needed to navigate complex social and racial situations. My father’s side of the family is white and doesn’t speak Japanese, so as a kid I knew that in order to survive and be “liked” by that side, or maybe even just to be understood, I needed to downplay my otherness and be as “normal,” aka white English-speaking, to them as possible. Conversely, my mom’s side of the family is Japanese and doesn’t speak English, so to them I needed to be as Japanese as possible. Of course as a kid you get a pass to a degree and are loved anyways, but I do remember this feeling of anxiousness, that my survival and ability to be loved and cared for depended on this ability to code-switch.

Being the oldest in a family of three siblings, and because my experience was so different from my parents’ monocultural upbringing (Japanese in rural Japan for my mom, white American in suburban NJ for my dad), code-switching was an essential survival tool. Kids instinctively figure out how to protect themselves at a very young age, even before they learn how to express themselves verbally. Immigrants adapt similar survival tactics, the art of blending in. Though “blending in” is a way to survive, it also is an act of self erasure. How to survive, while not annihilating yourself in the process? You camouflage.

The reason for the absence of figures in my work probably comes from feeling absent from my own narrative, feeling a bit unmoored from belonging to any one culture. I didn't see myself being reflected in the context of mainstream Japan or in America or anywhere except for maybe sci-fi or fantasy. Growing up I often felt like a ghost, like I didn’t exist in the real world. While I had learned how to integrate enough to survive, as I was getting up to speed with my fluency and literacy in English and Japanese while going back and forth between the U.S. and Japan, I often felt I was on the sidelines watching other people live their lives and not feeling comfortable enough to fully participate. When my family moved from Ithaca, NY to Kyoto in the ’80s when I was 9 for my dad’s teaching job at a Japanese university, I was often called 外人=outside person by strangers on the street. As a sensitive kid, I internalized that othering a lot.

The architectural work I was making in grad school was a kind of perverse take on modernist architecture, multiplying and ornamenting the hell out of the piloti and flat roofs of the International Style, a style that aimed to strip all ornamentation and color to become a “pure” architecture. The absence of figures became like the blank-slate of a dollhouse, a place I could imagine roaming around in.

Naomi Reis, Vertical Garden (weeds), 2007. Hand-cut ink and acrylic drawings on mylar, 53 x 45 inches. Photograph by Etienne Frossard.

AP: I can relate so much to this, being the first-born child of immigrants. It is interesting to think about these survival mechanisms in relationship to our work. I have been reflecting recently on my site-responsive installations, how they adapt and change depending on the size, time, and location of the piece, and how this is a metaphor for how one can rearrange the parts of the self depending on the social context. Code-switching would be one aspect of this. One of the feelings I remember most from childhood, perhaps because of moving a lot as a kid, perhaps because of being Korean-American and not quite feeling Korean or American, is that of constantly feeling like I need to assess the room and adapt to it. So while you are drawn to the idea of hiding/camouflage in your work, I am drawn to the idea of constantly adapting and rearranging the different components of the self. Two sides of the same coin I guess.

NR: Ah that’s interesting. Your strategy is to go on defense, which maybe is connected to your training in martial arts, and your attraction to building communities like TSA, whereas mine is an introvert’s tendency to self-isolate, to find a way to take up space while remaining hidden—yang vs yin.

To return to your question about why work made by Asian artists seems hidden behind some kind of invisibility cloak: that’s a reflection of where we’re at culturally in America generally. Asian stories remain largely unknown; they are insufficiently featured in mainstream media and curricula, so Asians have largely remained the consummate “other” whose experience is hidden and therefore not relatable to many Americans on a heart, gut level. White America tends to project an expectation of whiteness onto others, so when your actions or motives aren't matched in a way that’s relatable to a white audience, you confuse expectations and can be seen as an unknowable other that’s doing things wrong or badly. When you are seen as an other, it makes you vulnerable to either being too too visible—a target that needs to be taken down for taking up space that we don’t deserve, as we’ve seen play out recently in the attacks against Asians in America—or not relatable/relevant and therefore invisible, an easy target for cultural appropriation or the butt of a joke.

American culture likes extremes. Black or white, good or bad, democrat or republican, man or woman. Personally I feel most comfortable in the in-between, where everything is still in the process of forming, and reforming. Queer spaces. Because they encompass, in theory, all shades of ambiguity. Going back to the idea of binary space, people tend to be attracted to things that either remind them of themselves, or on the opposite extreme, that provide a projected escape into the exotic “other.” In movies you often see Asian-ness as an alienating backdrop to heighten tension for the central white characters you are meant to identify with: Asian bodies as embodiment of a dystopian future (both Bladerunner movies, Artificial Intelligence, Minority Report); as nonsensical foreigners in their own country (Lost in Translation); as hapless natives who need saving (Last Samurai).

AP: What aspects of your work do you see as talking about the in-between?

NR: My work is maybe less aiming to talk “about” the in-between, and more just wanting to “be” in the in-between. The process of making “it,” whatever “it” ends up being—is itself what creates the space and time to occupy an in-between—a wordless space that exists for the interval while engaged in the act of making. The 間 space: a Japanese word that refers to the in-between, both spatially and temporally. This is the space in which all artists work, falling into that pocket of space-time where things are in flux.

It’s a way to give yourself permission to inhabit space—”to be” without having to translate that state of being into a binary (English/not-English; American/not American; male/female; young/old). Even now, writing this out, and to you, Alex, I am inhabiting my English-speaking self who is translating the self into a form that is legible to an English-speaker. Talking to my mom, I am inhabiting my Japanese-speaking self and all the historical cultural gendered background that goes into being that particular self. Talking to my siblings or bilingual friends, fluidly switching between English and Japanese, is a way to occupy the in-between for that interval of time, then returning to the binary world of everyday life. Didactically speaking, I suppose my work is “in-between'' in that it is kind of painting, kind of drawing, kind of collage, kind of abstract, kind of representational, kind of naive, kind of sophisticated. Kind of American? Kind of Japanese? Kind of good? Kind of bad? A physical thing that takes up space, and that space can encompass all the ambiguous in-between mushy-ness.

I didn’t feel able to pursue being an artist until I was in my mid-20s. I had a lot of shame about not being good enough, of not deserving to do it. Still do. I hadn’t gone to art school, and wasn’t encouraged to be a creative person by society or parentally. It was something I wasn’t open about, I drew and painted alone in the privacy of my room. So by the time I was in my mid-20s and realized working a normal job was killing me (I was a human resources representative at the NY office of a Japanese printing company), and that I really had to give artmaking a go, I didn’t know what I was doing.

At the time, I was fascinated by architecture. The idea that you could take a philosophy, a belief system, and turn it into a permanent structure that’s inhabitable, that can last for centuries. Maybe that fascination came from growing up in Kyoto around buildings that had been around for 1,200+ years. So when I started in the MFA program at Penn Design and was making architectural sketches in 3D-modeling programs, it came from a feeling of: if I can imagine an inhabitable place within which I can exist, I can open up a non-binary space to work within. Anytime I can overcome my inner demons or lack of talent or confidence or imposter syndrome, etc. long enough to crack open some space and just make the work, that’s a victory. Generally, in the year ahead I want to make work that comes from a place of joy. Worrying less about how my work fits in, and just focussing on creating the conditions within which I can feel more exuberant, and free. When you allow those conditions for yourself, I think you can do the same for others.

AP: Another exciting thing about your work is how it is busting out of the rectangle more! Obviously I am all about that :) Can you talk more about how that happened and how you are thinking about it?

NR: Ha! I think it comes from a desire to to be more joyful, bust out of the seams, take up more space. Allow for messiness, draw outside the lines. I want to make more space for weirdness. It must come from a desire to push against the narrowly-defined rules for acceptable female behavior that I grew up with in Japan, and the kind of bubbling rage I felt for the myriad of ways women and their bodies are policed, undermined, silenced, and funneled into serving a capitalist nationalist patriarchal system, where the myth of ethnic/racial purity is perpetuated through the education system. Harm and denial begets harm and denial, and I wanted to get out and find a different way.

AP: I love the idea of the work taking up more space than it is given. It goes back to the idea you talked about earlier of becoming an artist to create a space that didn’t exist for you previously, and of pushing against/beyond essentialist and reductive readings of art based on identity.

NR: How about you, Alex? I’ve always sensed there’s a reticence in you to talk more directly about what your work is about, to not allow yourself that level of vulnerability. For example, sometimes you refer to your time in the studio as being boring repetitive labor, and I was wondering if there might be a connection there between the type of labor involved with the work your parent’s did as owners of a dry-cleaning business. Can aspects of your work be seen as a kind of penance, or perhaps tribute, to the kind of labor that was available to Asian immigrants when you were growing up? You are the artist, so you get to dictate the terms. Why limit yourself to a mode of making that you say is repetitive and boring? Maybe there’s something important there in that repetition and boredom that you are committed to, and I want to know what it is, and why. What do you want and dream about for your work?

AP: I am becoming more comfortable with it recently. While I hesitate to draw a direct connection between the type of menial labor that my parents did and the type of work I am making, I do think that my upbringing shaped my personality and interests for sure. Seeing them work so hard and feeling the pressures of being the first-born (pressures stemming from my parents, from Korean culture, my own guilt in wanting to honor their work, my own internalized capitalism) definitely has instilled an appreciation for labor. I have always been drawn to things that require discipline and repetition—classical music, martial arts, cutting strips of paper over and over again.

I was thinking about my work through a very narrow lens for a long time, trying to keep it in the lane and lineage of the art history I was taught. Once I opened up my thinking about my work as an extension of the totality of my life experience and interests including but not limited to my Korean-American identity, it allowed me to see things in my work and myself that I hadn’t been willing to explore. That being said, I am hesitant to make my work only or primarily about my racial identity. I feel a lot of external and internal pressure that I am supposed to be making work about my racial identity.

Your work is also very labor intensive. Can you talk about how you think about that in your studio practice?

NR: I think it goes back to the in-between space, to the relief I get when I release into the labor of work; there I am temporarily free from the anxiety of not-belonging. So the more labor intensive it is, the more I get to be free. In the past several years I also have been spending more time trying to heal: learning how to meditate, and in various forms of therapy like EMDR and somatic experiencing. A healer I’ve worked with who specializes in somatic experiencing mentioned that a lot of people who’ve experienced trauma engage in repetitive labor, that there is release and relief, a self-soothing, in that labor. It makes me nervous to think that the labor-intensive nature of my work can be explained away as a form of self-medication, but on some level the creative impulse always comes from some kind of unnameable necessity.

AP: It’s such a gift to been friends with you for over 15 years and also to have seen your work grow for that long. It’s exciting to see a lot of these ideas coming together in your most recent body of work that you showed at Transmitter. Can you tell me more about this recent series?

Naomi Reis, 71229 (9:17), 2021. Acrylic on washi paper and mylar cutouts, 93H x 55W inches. Photograph by Carl Gunhouse

NR: In my most recent work, I worked off of photographs my mom has been sharing of her flower arrangements on our family group chat, which is the primary way we all keep in touch (my mom, brother, and his family are in Japan, and me and my sister and her family are in NY). My siblings post photos of their young kids, I post photos of my work, and my mom posts photos of her cooking and flower arrangements. Photos of the domestic realm. This new series is an attempt to bridge the ruptures that distance can bring: geographical, generational, and cultural/philosophical. There’s definitely a lot of tension in our different ways of thinking about gender roles, so the thought was to translate those gaps of expectation into a form that heals and transforms, through the labor and care that goes into the process of making. Maybe this work is my version of a quilt or weaving piece—a labor-intensive process that is meditative, with all the analogies and histories of weaving, knitting together, mending—embedded within.

Naomi Reis, 111119 (90˚W), 2021. Acrylic on washi paper and mylar cutouts, 48H x 37W inches. Photograph by Paul Takeuchi

Born in Shiga, Japan, Naomi Kawanishi Reis makes mixed-media paintings and wall pieces that focus on idealized spaces such as utopian architecture, conservatory gardens, and still life. She has had solo exhibitions at Youkobo Art Space, (Tokyo) and Mixed Greens, NY; she has also exhibited at Brooklyn Academy of Music and Wave Hill. In 2018 she received a Joan Mitchell Foundation Painters & Sculptors Grant, and in 2015 was a NYFA Finalist in Painting. Residencies that have supported her work include Yaddo and Robert Blackburn Printmaking Workshop. Reis also is a Japanese to English translator; recent publications include the chef's monograph “monk: Light and Shadow along the Philosopher’s Path” (Phaidon Press, 2021). She received an MFA from the University of Pennsylvania, and a BA in Transcultural Identity from Hamilton College.

www.naomireis.com @naomikawanishireis

Alex Paik is an artist living and working in Los Angeles. His modular, paper-based wall installations explore perception, interdependence, and improvisation within structure while engaging with the complexities of social dynamics. He has exhibited in the U.S. and internationally, with notable solo projects at Praxis New York, Art on Paper 2016, and Gallery Joe. His work has also been featured in group exhibitions at BravinLee Projects, Lesley Heller Workspace, and MONO Practice, among others.

Paik is Founder and Director of Tiger Strikes Asteroid, a non-profit network of artist-run spaces and serves on the Advisory Board at Trestle Gallery, where he formerly worked as Gallery Director.

www.alexpaik.com @alexpaik

#naomireisalexpaik #naomireis #naomikawanishireis #alexpaik

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mgppaintingservice · 5 months ago

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shruticmi-universe · 4 years ago

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WALLPAPER MARKET ANALYSIS

Wallpaper Market, by Product Type (Vinyl-based, Non-woven, Pure Paper Type, Fiber Type, and Others), by Distribution Channel (Online Channel (Company’s Own Website and Resellers/Third Party E-commerce Channels) and Offline Channel (Company Franchisee Stores and Company Owned Showrooms)), by End User (Residential and Commercial (Offices, Restaurants, Entertainment Centers, and Others)), and by Region (North America, Latin America, Asia Pacific, Europe, Middle East, and Africa) - Size, Share, Outlook, and Opportunity Analysis, 2019 – 2027

Wallpaper Market- 2017-2027

Definition of Market/Industry:

Wallpaper is used in construction industry for the purpose of interior decoration for decorating the walls of commercial and residential buildings. The scope of the report global wallpaper market takes into consideration of both wallpapers and wall coverings.

Statistics:

Global wallpaper market was valued at US$ 6,946.2 Mn in 2018, and is expected to reach US$ 11,286.7 Mn by 2027, exhibiting a CAGR of 5.9% over the forecast period.

Drivers:

The global wallpaper market is expected to witness significant growth, owing to the numerous advantages provided by wallpaper in terms of excellent durability, easy installation, and wide availability of wallpaper products. Furthermore, increasing trend of interior decoration within the residential and commercial spaces is expected to drive growth of the market. Interior decoration is an important part of construction industry, as aesthetical appearance of residential homes or commercial buildings is a prime factor for consumers. Therefore, growth of the construction industry is expected to boost demand for aesthetically appealing wallpapers over the forecast period. For instance, according to the Global Construction 2030 perspective and Oxford Economies, in 2016, the global construction industry was valued at US$ 9.5 trillion, which is expected to grow by 85% to reach US$ 17.5 trillion by 2030, with China, India, and the U.S. accounting for 57% of the global share. Moreover, according to the India Brand Equity Foundation, the Indian real estate sector was valued at US$ 120 billion in 2017, and is expected to reach US$ 1 trillion by 2030. Moreover, it is expected to contribute over 13% to the country’s GDP.

Statistics:

Figure 1. Global Wallpaper Market Share (%), By Region, 2018

Market Restraints

The wallpaper market is restrained by its limited use in specific locations of the building. Wallpapers can be efficiently used in specific locations such as bedrooms, seating areas, dining area, and others However, it cannot be used in kitchen, bathroom or exterior decoration. Constant exposure to sunlight can damage the wallpaper and may burn part of it or can fade color of the wallpaper. Exposure to humidity & heat causes the wallpaper to peel off, therefore, wallpapers do not last long in areas exposed to constant sunlight or humidity. These factors are expected to hamper growth of the global wallpaper market over the forecast period.

Market Opportunities

Increasing consumer awareness about harmful volatile organic compounds in paints is shifting their preference towards more eco-friendly decorative options. Most of the wallpapers are made using PVC, which contains phthalate plasticizers & dilutants. During wallpaper production, these chemicals partially evaporate and some components remain in the wallpaper. Such toxic chemicals can migrate into the home environment, which can potentially harm human health. Therefore, eco-friendly wallpapers made of natural raw material are expected offering growth opportunities to wallpaper manufacturers.

Figure 2. Global Wallpaper Market Share (%), By Product Type, 2018

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Competitive Section:

Company Names

York Wallcoverings

4Walls

Len-Tex Corporation

Koroseal Interior Products, LLC

Wallquest Inc.

Fidelity Wallcoverings Inc.

Brewster Home Fashions LLC.

The Wallpaper Company

Glamora S.r.l.

Arte-International

Recent Developments

Len-Tex Corporation

In March 2016, the company launched Celeste, a Mylar-printed design. This new design incorporated the company’s Clean Vinyl Technology, a phthalate-free construction, eliminating health risks and contributing to cleaner indoor air. This launch helped the company in expanding its product portfolio and thereby, increasing its customer base.

Brewster Home Fashions LLC

In June 2017, Brewster Home Fashions, a family-owned distributor and manufacturer of wall coverings and home décor products, purchased the assets of Fetco Home Décor, Inc. This transaction expanded Brewster’s product offerings in the home décor category.

Glamora S.R.L

In September 2018, Glamora s.r.l. launched Glamora GlamFusion in London and Cersaie in Bologna,. It offers prefinished waterproof wallpaper, which does not need further waterproof treatment during installation.

ARTE-INTERNATIONAL

In January 2019, the company launched its Extinct Animals wallcoverings range at the Deco Off in Paris. This launch was inspired by Moooi’s Museum of Extinct Animals. This launch helped the company in expanding its product portfolio.

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#WALLPAPER MARKET ANALYSIS

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architectnews · 4 years ago

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YTL Headquarters Kuala Lumpur

YTL Headquarters Kuala Lumpur Building Design, Malaysia Office Development

YTL Headquarters Kuala Lumpur Building

25 Nov 2020

YTL Corporation Berhad Headquarters Kuala Lumpur News

Interior Design: MOD, Architects

Photography David Yeow Photography

Location: 205 Jalan Bukit Bintang, 55100 Kuala Lumpur, Malaysia

“UNIFYING PRESENCE”

Design brief: To unify

YTL Corporation Berhad, a large Malaysian infrastructure conglomerate founded in 1955, grew from a small construction firm into a global infrastructure company spanning oil & gas, cement, construction, property development and hotels.

Previously occupying various offices in different locations, this YTL Headquarters located in Central Kuala Lumper (along Jalan Bukit Bintang) brings together for the first time, the entire suite of YTL departments (numbering more than a dozen, comprising 1000 staff members), each of which have developed their own culture and operations.

The brief for MOD (Ministry of Design)was to design the public areas shared by these departments, i.e. Ground Floor lobby and levels 8-10, and present a unified brand identity under one roof. As such, MOD sought to create a series of choreographed spatial experiences which aim to balance YTL’s legacy of corporate professionalism with a future-forward attitude that embraces change.

Design concept: To respect legacy and infuse future-forwardness

There are 2 main public area zones, the Ground Floor lobby, and 3 upper floors (levels 8-10) which comprises a host of collective meeting zones, and a cafe.

At the Ground Floor, visitors are greeted by a vertically cavernous lobby which spans more than 25-meters in height (7 floors). The design challenge for MOD, was how to enhance the majestic quality of the space, yet not dwarf the human scale and provide a welcoming entrance. As such, the lobby is a study in proportion, light control and a disciplined use of materials. The soaring space has been designed to capture the rays of light in the daytime, and glow like a lantern in the evening.

MOD designed the marble-clad columns such that its rhythm is denser and more grounded at the bottom, yet getting lighter towards the top, giving the impression of ascending lightness. MOD inserted horizontal striations and ridges using bronze accents, in the continuing pattern of white Bugatsa Marble, to provide visual relief rather than a continuous ascension to the top.

A glittering art installation hovers like a cloud over a series of pavilion niches, which provide a sense of human scale in this vast space. MOD designed the seating areas as architectural pavilion niches rather than mere decorative benches. These seating areas provide iconic Barcelona Couches for visitors to sit on and admire the lobby’s majestic cavernous quality, and the pavilion niches are also designed in the same restrained material palette, featuring bronze bead blast metal trims for consistency.

After a visitor signs in at the reception desk and proceeds past the turnstiles, they would indicate the destination floor number at the lift call button area before entering the lift lobby (incorporating a “destination-dispatching” elevator system). Design-wise, while MOD wanted to keep the entrance experience entirely symmetrical from the drop-off to the lift car, there was an existing stair core which prevents this symmetry; in response, MOD created a bronze-clad “portal” to anchor the lift portal and draw a visitor’s eyes towards that lift lobby when he enters the main lobby. The lift lobby is accented with the same bronze metal as the main lobby for a consistently disciplined material palette.

Levels 8 to 10 comprise a café, multiple types of open & closed meeting spaces and a 122-pax function room. This public zone is conceived to be an extension of the lobby area, and is conceptualized to be the point of interface between YTL staff and external visitors and consultants.

The “heart” of L8 is the handsome grey granite café counter with bronze shelves and oak timber ceilings and walls. Serving up freshly baked confectionary as well as aromatic espressos, this café counter is designed with a rough-edged split-face granite on its vertical surfaces and a smooth black sesame polished granite for the horizontal counter.

To introduce connectivity between Levels 8 and 9, MOD introduced a void and a feature spiral stair, designing an arresting and dynamic cage-like stair with vertical rods made of powdercoated bronze metal, sitting on a bed of black gravel. A visitor is meant to feel a sense of timeless elegance and beautifully crafted materiality whilst climbing the stair, with one hand on the elegant leather handrails.

On all three levels 8, 9, and 10, MOD has created a myriad of meeting space types to suit a variety of small to large gatherings, private to non-private. These spaces range from casual communal tables, open discussion areas, hot-desk / banquette seating / booth seating areas, to semi-enclosed meeting rooms, acoustically private rooms, a VIP room and a large multi-function meeting area that can seat 122 persons.

These spaces are designed with a warm and sophisticated palette, featuring warm oak timber for the walls and ceilings, silver mink marble flooring, and black powder-coated metal trims for lighting fixtures. The café, banquette and booth seating are upholstered in German-based innovative fabric from Saum & Viebahn whose “magic” range features high quality fabrics built for high-usage and easy maintenance.

The tables feature either striking black Nero Marquina marble or elegant white Calacatta marble. The enclosed meeting rooms feature handsome carpet flooring from the Net Effect Collection, elegant brown leather chairs and timber tables.

B.PROJECT CREDITS

Ministry of Design: Colin Seah, Joyce Low, Ruth Chong, Kevin Leong, Damien Saive, Namrata Mehta, Fai Suvisith, Justin Lu, Zhang Hang, Maggie Lek, Kaye Mojica, Richard Herman, Rais Rahman, Tasminah Ali, Azilawanti Wati

Built in GFA Ground Floor Lobby – 313sqm L8 Cafe and Function Room – 910 sqm L9 Meeting Facility – 835 sqm L10 Meeting Facility – 987 sqm

Total GFA – 3045 sqm; Land Area – 2600 sqm

Facilities:

1. Ground Floor Lobby: Reception, Lift Lobbies

2. L8 Cafe and Function Room: Cafe, Multi-Function room (approx. 122 pax), VIP room

3. L9 Meeting Facility: Hot desks, Banquette seating, Booth seating, Open discussion area, Meeting rooms x 13, Pantry

4. L10 Meeting Facility: Open discussion areas x 2, Meeting rooms x 23, Pantry x 2

Address: 205 Jalan Bukit Bintang, 55100 Kuala Lumpur, Malaysia

Key Dates: Interior Construction duration : 24 months Date of Completion: November 2020

Photography: David Yeow Photography

Owner: YTL Corporation Berhad ID Contractor: Quantum One Sdn Bhd Press Contact: Joy Chan Seah, Director

Architectural design Concept: Kohn Pedersen Fox Associates Design: Syarikat Pembenaan Yeoh Tiong Lay Sdn Bhd Architect of Record: Veritas Design Group

Art at Ground Floor Hanging Art Sculpture titled “Leaves”: Studio Sawada Design Co Ltd

C.ABOUT MINISTRY OF DESIGN

Ministry of Design is an integrated architectural, interior design and branding firm that has won Singapore’s President Design Award twice, New York’s Gold Key Award thrice, and named “Designer of the Year” by International Design Awards (USA), and been featured in Wallpaper, Frame and Surface.

Headquartered in Singapore, with offices in Beijing and Kuala Lumpur, MOD was declared a “Rising Star of Architecture” by the Monocle Singapore Survey 2010 and “Designer of the Year” by the International Design Awards, USA 2010. Our recent portfolio includes VUE Hotel Houhai Beijing (Winner of 13 international awards including Best Emerging Concept, Gold Key NYC 2018), Race Robotics Laboratory (Winner of 12 international awards including IIDA USA Design of the Year 2018), COO Sociatel, Loke Thye Kee Residences, 100PP Office Building, Durasafe Gallery (Red Dot 2014 Winner) and Eco Layer Gallery.

Created by Colin Seah to question convention and redefine the spaces, forms and experiences that surround us, MOD’s explorations are created amidst a democratic studio-like’ atmosphere and progress seamlessly between form, site, object and space. At MOD, we provide our clients services that transcend mere design skill sets or technical prowess.

We prefer to start far upstream and instead of merely designing solutions, we design holistic experiences. The resultant design thinking then translates into a wide variety of possible downstream design applications and media: be it architecture, product design, interior architecture, branding, graphics, landscape or even the weaving of diverse disciplines into a single project.

“We love to question where the inherent potential in contemporary design lies, and then to disturb the ways they are created or perceived, redefining the world around us in relevant and innovative ways, project by project. This, we declare, is real change, not change for the sake of novelty.

Fortified with these aspirations, we begin each distinct project anew by seeking to do 2 things: to draw deeply from the context surrounding each project, but also to dream freely so that we might transcend mere reality and convention. Each MOD project endeavours to be delightfully surprising but yet relevant, distinctly local but still globally appealing.”

D. FF&E DETAILS

Area Material Supplier

A. Ground Floor: Lobby, Lift Lobby, VIP Lobby

1 Stone for wall & floor & reception counter White Bugatsa Marble Axis Stone Sdn Bhd

2 Metal for wall lights & trims, pavilion niches, lift lobby portal, lift door Bronze metal (bead blast) PVD Titanium Coating Sdn Bhd

3 Mirrors at Lobby One-Way Mirror & Clear Mirror DDG Glass Manufacturing Sdn Bhd

4 Seating at Pavilion Niche Barcelona Couch (Tan Leather) Space Furniture Pte Ltd

5 Hanging Art Sculpture Custom art featuring metal silver, white and bronze organic shapes hung with steel cables Studio Sawada Design Co. Ltd

6 Lighting Architectural lights Brandston Partnership Inc. B. Level 8: Function Room and Lift Lobby

7 Wall & Ceiling Oak Timber Veneer Quantum One Sdn Bhd

8 Fabric wall & Movable wall system Grey fabric Quantum One Sdn Bhd

9 Roller blinds Blinds in grey colour sheer and blackout fabric Quantum One Sdn Bhd

10 Flooring: Carpet Net Effect TM Collection Interface Singapore Pte Ltd

11 Furniture Black stackable chairs, Armchairs, sofa, coffee table, side table R&C Creative Studios Sdn Bhd

12 Lighting Wall scones from Dolma Kreon C. Level 8: Café counter, Café Seating and toilets

13 Flooring for café, seating areas, Communal table & toilets Lighter Grey Stone Flooring (Silver Mink Marble) Axis Stone Sdn Bhd

14 Flooring for café counter, seating areas Darker Grey Granite Flooring (Flamed black sesame granite) Axis Stone Sdn Bhd

15 Café counter Split-face granite (vertical), polished black sesame granite (horizontal) Axis Stone Sdn Bhd

16 Café shelves, wall, ceiling Oak Timber Veneer Quantum One Sdn Bhd

17 Café shelves metal accents Bronze metal (bead blast) PVD Titanium Coating Sdn Bhd

18 Spiral Stairs Powder-coated bronze metal, Grey gravel flooring, Brown leather handrail Quantum One Sdn Bhd

19 Spiral Stair Steps Timber effect vinyl floor (Daybreak LV 5442 Coral) Inovar Contracts Sdn Bhd

20 Fabric upholstery for banquette seats Saum &Viebahn (MAGIC collection), designed for high usage and easy maintenance, with FibreGuard technology and Oeko-Tex Standard 100 Roselle Mont Clair Pte Ltd

21 Loose dining chairs, bar stools & tables Custom chairs, tables with white marble table top, bar stools R&C Creative Studios Sdn Bhd

22 Communal table Black Nero Marquina marble Axis Stone Sdn Bhd

23 Toilets Partition walls (Formica), Sanitary ware (TOTO) Besco Building Supplies (Sea) Pte Ltd & YTL

24 Lighting: Wall lights Wall Marset (Aura collection) Neiviv Home

25 Lighting Architectural lights Brandston Partnership Inc.

26 Metal trims on wall & lights Powder coated black metal Quantum One Sdn Bhd D. Level 9-10: Meeting Facilities

27 Flooring: Vinyl (open meeting areas) Timber-effect Vinyl Flooring (Daybreak LV 5442 Coral) Inovar Contracts Sdn Bhd

28 Flooring: Carpet (closed meeting rooms) Net Effect TM Collection Interface Singapore Pte Ltd

29 Wall & Ceiling & Joinery Oak Timber Veneer Quantum One Sdn Bhd

30 Fabric upholstery for Banquette seats Saum &Viebahn (MAGIC collection), designed for high usage and easy maintenance, with FibreGuard technology and Oeko-Tex Standard 100 Roselle Mont Clair Pte Ltd

31 Loose dining chairs, bar stools & tables Custom chairs, tables with white marble table top, bar stools R&C Creative Studios Sdn Bhd

32 Small round tables at Banquette seating Black Nero Marquina marble Axis Stone Sdn Bhd

33 Pantry communal table White marble table top (Compac Quartz, Unique Calacatta) Axis Stone Sdn Bhd

34 Metal trims on furniture Bronze metal (bead blast) PVD Titanium Coating Sdn Bhd

35 Metal trims on wall & lights Powder coated black metal Quantum One Sdn Bhd

36 Meeting rooms ceiling Beige paint Nippon paint

37 Meeting rooms mirrors Clear mirror in meeting rooms, Bronze tinted mirror in pantry table area Quantum One Sdn Bhd

38 Meeting room furniture Custom table with timber top and chair in brown leather R&C Creative Studios Sdn Bhd

39 Lighting Architectural lights Brandston Partnership Inc.

杨忠礼集团总部室内设计 3045 平方米 | 吉隆坡，马来西亚 | 建成 2020 A. 设计撰写 “凝聚的力量” YTL 总部位于吉隆坡市中心(沿着 Jalan Bukit Bintang)，这是 YTL 集团首次将十二个部门回寄在一起的，在同一个办公大楼下呈现出统一的品牌形象。容纳超过 1000 名员工，MOD 创造了一系列精心设计的空间体验，旨在平衡 YTL 的企业专业精神价值和拥抱变化的未来态度。共有 2 个主要的公共区域，位于一楼，和 3 个高层(8-10 层)。所有的访客都有一个垂直的洞穴般的接待大堂，在上面的楼层，有一系列的集体会议区，包括一个咖啡厅和花园露台。接待大堂是一个需要仔细推敲比例，以及光线控制和严格的使用材料的空间。这个高达 20 米的空间被设计成可以在白天捕捉自然光线，而在晚上像灯笼一样发光。一个闪闪发光的艺术装置像云朵一样盘旋在一系列展馆壁龛上，在这个巨大的空间中提供了一种人性化的尺度感。高层会议区被定义为 YTL 员工和外部访客/顾问之间的接口点。跨越 3 层，其中 2 层通过一个中空的特色螺旋楼梯垂直整合，MOD 创造了许多的会议空间。从休闲咖啡风格的桌子，半封闭的房间，私人隔音室和大型多功能会议室，空间设计温暖搭配精致的色调。 B. 项目信息 Ministry of Design 设计团队 Colin Seah, Joyce Low, Ruth Chong, Kevin Leong , Damien Saive, Namrata Mehta, Fai Suvisith, Justin Lu, Zhang Hang, Maggie Lek, Kaye Mojica, Richard Herman, Rais Rahman, Tasminah Ali, Azilawanti Wati 总室内⾯积一层体验中心：313 平米八层咖啡厅和多功能室：910 平米九层会议室： 835 平米十层会议室- 987 平米总室内⾯积 – 3045 平米配套设施 1. 一层体验中心: 接待处，电梯厅 SINGAPORE HQ: +65 6222 5780 | www.modonline.com | 20 Cross Street #03-01 Singapore 048422 MALAYSIA BRANCH: +603 2201 5222 | A-33-5 Menara UOA Bangsar, No. 5 Jalan Bangsar Utama 1, 59000 Kuala Lumpur P 07 2. 八层咖啡厅和多功能室：咖啡厅，多功能室，贵宾室 3. 九层会议室：办公桌，长椅，沙发座椅，开放式洽谈区，13 会议室，备餐室 4. 十层会议室： 2 开放式洽谈区，23 会议室，备餐室地址 205 Jalan Bukit Bintang, 55100 吉隆坡，马来西亚施工阶段 24 月施工完成 2020 年 11 月摄影师 David Yeow Photography 业主 YTL Corporation Berhad 室内承包商 Quantum One Sdn Bhd 媒体联系⼈ Joy Chan Seah, Director [email protected]; +65-98592650 ; www.modonline.com 一层大堂悬挂雕塑艺术品艺术家：Studio Sawada Design Co Ltd C. MINISTRY OF DESIGN Ministry of Design 是⼀家综合的设计公司，可以提供建筑，室内和品牌设计，曾两次获得新加坡总统奖，三次获得纽约⾦钥匙奖，并被国际设计奖（美国）评为“年度设计师”，并经常在 Wallpaper, Frame, Surface 的杂志上⾯发表作品。 MOD 是由 Colin Seah 先⽣创⽴。公司的理念在于质疑惯例，对围绕在我们⾝边的空间进⾏重新的定义. MOD 的探索创造了拥有参与感很强的‘⼯作室式’的⼯作氛围，并且对于建筑的形式，场地，对象��空间密切的结合起来。在 MOD，我们为我们客户的服务超越了简单的设计技能或者技术咨询。我们喜欢逆流⽽上⽽不只是设计解决办法，我们为我们的项⺫提供全盘的构想和体验。由此⽽产⽣的设计思路被可以⾃然⽽然的转化为各种设计⽅案和媒体传播⼿段：建筑，产品设计，室内设计，品牌策划，标识，景观，甚⾄可以将不同专业的内容汇集⾄⼀个项⺫中。 “我们喜欢充分的激发现代建筑设计的潜⼒，质疑我们对习以为常的事务的知觉和看法，为我们⾝边的世界建⽴新的联系，利⽤我们⼀个⼜⼀个项⺫来⽤另⼀种⽅式来感知世 SINGAPORE HQ: +65 6222 5780 | www.modonline.com | 20 Cross Street #03-01 Singapore 048422 MALAYSIA BRANCH: +603 2201 5222 | A-33-5 Menara UOA Bangsar, No. 5 Jalan Bangsar Utama 1, 59000 Kuala Lumpur P 08 界。这对我们⽽⾔，才是真正的改变，这决不是单纯为了追求新奇⽽进⾏的改变。在这个强烈愿望的促使下，我们每⼀个不⽤的项⺫都在追寻这两个⺫标——从每个项⺫特殊的场地环境中寻求灵感，但同时⼜⼤胆的创新，我们就可以超越现实和传统。每⼀个 MOD 的项⺫都投⼊了⼗分的努⼒，每⼀个项⺫既⼤胆创新、赏⼼悦⺫，⼜与��地的⽂脉和环境恰如其当的结合在了⼀起.” MOD 的总部设在新加坡，并且在北京和吉隆坡设⽴了办公室。我们的设计精神得到了很好的反响，在国际和国内的各个奖项中我们都荣获了殊荣并且得到了重要媒体的好评— — 其中包括了 2010 年度新加坡 MONOCLE 杂志评出的‘ RISING STAR OF ARCHITECTURE’以及 2010 年度美国国际设计⼤奖评出的”Designer of the Year”。最近我们的项⺫有：VUE 后海北京酒店 (获得 13 个国际胜出，包括 2018 ⾦钥匙奖最佳创新新酒店概念)，RACE 机器⼈试验室(获得 12 个国际胜出，包括 2018 年度美国国际室内设计协会 IIDA 全球⼤奖)，COO 精品社交酒店，LOKE THYE KEE 住宅, 100PP 办公⼤楼, Durasafe 零售展厅(2014 年度红点设计⼤奖), 及 ECOWORLD 层叠展厅。

Ministry of Design

YTL Headquarters Kuala Lumpur Development images / information from architects 251120

Address: 205 Jalan Bukit Bintang, 55100 Kuala Lumpur, Malaysia, Southeast Asia

Architecture in Malaysia

Malaysian Architecture Designs

Malaysian Architecture Designs – chronological list

Malaysia Building News

Malaysian Buildings

Malaysian Architecture – Selection

BiodiverCity Masterplan, Penang South Islands, north west Malaysia Architects: BIG image from architecture practice BiodiverCity Masterplan

Supermax Global Headquarters, Klang Design: Szczepaniak Astridge, Architects image from architecture office Supermax Global Headquarters

Kiara Bay Masterplan Design: Lead8 image from architecture office Kiara Bay Masterplan near Kuala Lumpur

Arte S George Town in Penang Design: SPARk, Architects photograph : Lin Ho Arte S George Town Penang

Bukit Jalil and Damansara Heights Pavilions, Kuala Lumpur Design: Leonard Design Architects image from architecture firm Bukit Jalil and Damansara Heights Pavilions

Singapore Buildings

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