Archive for November, 2012
One of the finest compliments a new house can be given is that it appears to have always been there—that it looks “natural” in its setting. Looking as if it belongs is universally understood as a good thing. Yet most houses do not give that impression at all. Conventional building practices more often go in the opposite direction. Many builders go to great lengths to keep natural elements away from houses; they tame unruly landscapes, they raise the floors high off the damp ground, and they do their best to block the effects of hot sun, cold air, snow, and rain.
Romantic designers, by contrast, want to provide all the comforts of shelter while bringing the homeowners as close to nature as possible. Some romantic homes take the notion of being in touch with the landscape literally. Obie Bowman has designed grass-covered roofs, or tucked the house into the side of a cliff, or squeezed the house in between stands of trees. The aim of many romantic designers is to achieve a seamless connection between house and ground. In this approach, mature existing plantings are preserved wherever possible; they become focal points visible from the interior and, in some instances, elements around which the exterior is composed. A romantic architect may engineer the house to allow stones or trees to remain in their original locations, with the house built around them.
Another way of fitting into the landscape involves choosing colors and materials that blend the house into its setting. The design may not be subservient to the shape of the land, yet coloration and texture tie the house to the site. Still another technique involves positioning and laying out the house and designing its silhouette in relation to the existing or intended landscape but letting the house read as a clearly independent object. Hugh Newell Jacobsen’s all-white houses often do this. When seen from the landscape, they clearly belong even though they stand out. There is no one single way to blend a home into the landscape; a variety of techniques can achieve that result.
Historically, feeling has been an important ingredient in American domestic architecture. In the seventeenth century, when the first permanent settlers from the British Isles and northern Europe arrived on this continent, they encountered a terrain that was unfamiliar and often inhospitable. The resources available in the new land were largely unknown. What they found in North America was so arduous and alien, so different from Europe, that the newcomers might as well have been colonizing the moon. In such a setting, shelter, even a rude, primitive one, was the first necessity. The settlers fashioned dwellings from whatever materials could be gathered within walking distance.
Like children using their imagination to build forts in back yards or in the woods, the assembled rustic dwellings to protect themselves from all that seemed strange or threatening—the extreme weather, the wild animals, and of course the natives already living in the vicinity. The colonists’ first rudimentary creations were shoebox homes of stacked logs with pitched roofs, sometimes of earth—gathered together in a village pattern, their boundaries fortified when possible. As soon as possible, however, the primitive homes were added onto, or entirely new houses were built. The colonists wanted their homes to resemble the houses they had known in the Old World. The settlers had no interest whatsoever in emulating the Native Americans’ building customs. Nor did they intend to invent new forms for the New World. Rather, the progress of North American house design throughout the next three hundred years consisted mainly in translating and adapting European antecedents to the houses that would be built here.
Although American builders looked to European models, their impulse was more romantic than historicist. They didn’t so much copy Old World designs as invoke imagery that recalled certain places—such as villages in England, Germany, and the Netherlands. Early Americans built with the materials they found readily available, even if those materials had not commonly been used on the houses they were remembering.
Americans erected houses predominantly of wood, even if the inspirations for the designs were European dwellings of masonry. Some wooden eighteenth-century structures became known as Dutch colonials despite the fact that they conveyed impressions of Dutch houses that had been built of stone.
Even when American homes used the same materials as those on the other side of the Atlantic, such as stone or brick, they were hardly ever identical to the European originals. Americans adapted European imagery and styles to new conditions, different landscapes. In the nineteenth century, Italianate and Queen Anne cottages were built on beaches or on oceanfront cliffs in styles that recalled homes in the Italian countryside or in English suburbs.
For Americans, literal reproductions of houses from the old country could rarely suit the lifestyles of a new industrious and democratic society. The mansions of the upper class overseas were generally considered too ostentatious for capitalist tycoons in the United States, even if the American versions did turn out to be quite elaborate. The cottages of Europe’s lower class also did not lend themselves to copying—for an opposite reason: they were too inferior to house the New Worlds working class. Old homes in Europe’s countryside had been designed without comfort-giving technologies such as central heating and indoor plumbing, and they had used glass sparingly—partly because it was terribly costly and partly because historic European architecture had sought to keep the world out. That defensive posture continued in some American houses, such as dwellings in the 1700s in New York’s Mohawk Valley that were called “forts” because they were designed to ward off attacks by French and Indians. But as Hugh Newell Jacobsen pointed out to me, American architecture quickly shifted to a different path, and houses in the New World stopped being built for defense. American architects displayed an eagerness to let in the sun, the landscape, and the neighbors.
I believe that this embrace of the charm of European homes—even while avoiding the negatives associated with European life—is what makes American homes, and other colonial architecture throughout the world, so romantic and alluring. Today what’s fascinating about American house design is that it draws imagery and sentiment from one world and mixes it with technology and methods from another. A number of contemporary architects, myself included, are inspired by the dynamics of this modern romantic sensibility. This approach is well suited to the many people who vow to build their own homes because their vision of the ideal home is not shared by “production home-builders” (the building industry’s term for tract-home builders). Like the Americans of long ago, many people are torn between two worlds: one that arouses the feelings associated with a good home and one dictated by basic needs, location, and finances. In my experience, many clients crave a home that will satisfy complex aspirations—that will offer surprises and gratifying sensations while also being modern and functional.
Modern picturesque architects Homeowners-to-be often seek out architects whose work resonates with those aspirations. I too have sought out such architects for inspiration. I have chosen three of them to be the subject of this book: Hugh Newell Jacobsen, Peter Bohhn, and Obie Bowman. The three have much in common, yet they produce work that is remarkably divergent. That should not be surprising, since these are architects who dare to test new recipes for designing a good home and who take a free-spirited approach to their work. What they share is a love of life and landscape, a passion about modern construction technologies, and a penchant for the familiar. Their work is not historicist, but it is picturesque. It is evocative—suggestive of ingrained associations—even as it is new. These designers are modern romantics—architects adept at producing contemporary houses that arouse emotion, that have soul.
The three I’ve selected invent new forms, but not for the sake of inventing new forms. They devise interesting shapes to engage the viewers’ and inhabitants’ feelings, just as romantic designers have done for generations. Their houses are wondrously unique, yet not alien. They remind visitors of something familiar, whether it’s a saltbox house that’s common in their neighborhood or an old farm shed that they saw on a trip across the Midwest, or something they cannot quite put their finger on. Jacobsen builds homes, mainly in the eastern U.S. and Canada, whose profiles in the bright sunlight suggest the skyline of a village. Bohlin has used barn-like shapes for homes in various parts of America, and has designed provocative houses whose shapes bring to mind assemblies of garden walls and lean-tos. Bowman has created houses on the Pacific coast whose profiles look as if they might first have been seen by pioneers heading west in a wagon train. Some houses by Bowman are bold in design, but are wedged into the landscape so as not to intrude upon the context or the neighbors.
An industrial carpet cleaning is a totally different job in itself. The structures of the carpets which are used in offices or other organizations are totally different from the carpets which are used in homes. The industrial carpets have more strength, the weaving is so tightly done and the pile is much lower than the residential carpets. The most interesting thing is these industrial carpets are strictly glued to the floor. These carpets are made to be much durable and easy to clean. As these are used by a large number of people, so it has to be cleaned more frequently also.
There are so many types of industrialized Seattle carpet cleaning are present. Some of the most common techniques are as follows-
- Steam cleaning: This steam cleaning involves a machine which helps to throw water and detergent into the carpet and then help to extract the excess water also. After the washing process was done, the carpet is left to become dry. This process has taken some time as it involves the total drying of the carpet.
- Dry process: This process is not at all absolutely dry process but it includes a very little amount of water. The whole cleaning process is done by different types of materials and chemicals. As it does not involve drying, the carpet is becoming ready to use in minimum time.
- Encapsulation method: In this process synthetic crystals are thrown onto the carpet through a machine which binds the dirt particles and then instantly vacuumed. As there is no time evolved in this process so the carpet is cleaned in no time. Though this process is introduced in 1990, its popularity is gradually increasing day by day. This process is strictly used in industrial purposes. This process can be executed in organizations like hostels or hospitals as it does not take so much time.
There are so many carpet cleaning companies which are using the environmental friendly products to clean the carpets. This industrial carpet cleaning process is mainly done during late nights or during holiday time or the weekends when the office or organization is not open.
The sunrooms provide you the soothing opportunity to get pleasure from the little bit of the nature in comfort of the home. Most of the sunrooms have the glass walls or the windows which let outside in and aid you attach with outdoors. The ideas of decorating for the sunroom are just restricted by the imagination and the personal taste. Only standard design is that this be enjoyable and comfortable for your family or friends and for you.
When making the plan of design for the sunroom then you should think about design of rest of the house. If you would like the soothing refuge then you may desire to decorate sunroom in the same style. But, if you’re searching for the interesting retreat then you may desire to decorate utilizing the unexpected and different type of décor. And if you prefer the traditional scheme of decorating then consider using the Spanish style and design with terra cotta accents and tile floorings.
Generally the rarely noticed place of a home when this comes to ornamenting, staircase plays the significant role in the daily lifestyle like acting as the space or room to put on the shoes or hold products to be taken on the stairs. Let the staircase get the moments in the glory and in addition showcase personality of your home and you by how this is decorated. You can stencil the short words and saying on stairs by taping stencils to risers and painting with the brush of stippling in the jabbing motion.You should pain the runner on stairs. And you should measure from a wall inward on every riser and step, pencil in where runner will paint. You should use the blue tape of painter and paper or poly bags and tape this where you don’t desire to paint.
The interior design includes the fabrics, colors, furniture, styles, and textures which are carefully chosen to craft the especial look in the house and every room. The similar room can really look totally different with the combination to fulfill tastes of occupants of room and to offer most functionality for the lifestyle. There’re two kinds of the interior design, these are decorative and structural. The best structural design is really based on the simplicity, appropriate materials, good proportion, and stability for way a room will be utilized.
The best decorative interior design is based on the suitability to basic structure, proper proportion, and good placement. There’re four basic things of the design, these are form, space, color and texture, and line. Seven principles of design are balance, unity, rhythm, proportion, scale, focal point, details, and colors. All the principles and elements of the design are applied in style of a room whether this is Victorian, colonial, contemporary, traditional, French provincial, eclectic or the other style.
Whether you’re the interior designer or create the living offering services of the interior design, utilizing the computer software of interior design can make a job very easy. The software of the interior design allows designer to make the visual depiction of what they’re constructing earlier than having this built. Utilizing this kind of the software of interior design can really aid catch the possible errors in a design and save time and the money.
Most basic interior design software offers the way to draw the floor plan. It is handy whether constructing from floor up or making in the existing dimensions. Added ability to turning a floor plan in the three D space aids knows spatial relation and the flow of the traffic in the space. Some software programs of the interior design allow for the input of the furniture dimensions. The other software may offer the templates of the furniture which rotate and resize.
The designers of interior work on the both residential and commercial projects and they follow the systematic steps to prepare the good and final programs. The interior designers might be certified via national council for the qualification of interior design in the Canada and United States of America. They must have the five years post education in the interior design and some work experience earlier than they can take exam, even though in the few states this is not essential to become qualified. The interior designers don’t need similar amount of the study and don’t require being certified.
The interior designer should write down approximately everything which is needed to know the objective. Information must comprise information of the contact of a customer, address of project, the proposed timeline, rooms, and budget to be comprised in a project, the preferred colors and the consents and permissions needed from a customer and planning departments or local zoning.