Cool Best Interior Design School images

Memory is a Golden Sieve
best interior design school

Image by kern.justin
Welcome to the new blog.
For the past year and a half I have been part of The Windy Pixel, a daily photoblog of urban and natural beauty. I ran the blog with Annie and Mike (those coming from tWp will be very familiar with these two folks), but the time has come for me to strike out on my own. The name for this blog comes from the writings and musings of Galen Rowell, who said that memory is a golden sieve which keeps the nuggets and lets the rubble pass through. His published words and photographs are a source of great inspiration and instruction for all photographers, myself included. I encourage you to read his books, support the Rowell Fund for Tibet and value wild places. My goal in creating this blog is to extend upon ideas I initially read about in Rowell’s books and to dissect photography and memory and to understand how the two connect. Ultimately, I hope to make The Golden Sieve a center for great photography, writing and a place of beauty on the internet.
What to do on the new site.
This site is but half made. I have spent the past months slowly building design elements and content from the ground up for your enjoyment, but there is much yet to be done. You’ll notice links at the very top of the webpage to buy photoshop actions, learn everything you ever wanted to know about HDR photography, and email me. There are also interactive gallery leads underneath the masthead (The City Gray and This American Giant) as well as an About Page where you can learn a bit about me and this blog.
You can buy prints of my work, read my gear recommendations (and eventually reviews) and poke around the short list of websites I enjoy visiting in the sidebar. You’ll also notice there is this neat little pull-out drawer in the upper left that has information about my twitter feed – follow me if you want to hear what I have to say.
I encourage you to click around from page to page and check things out.
Today’s photograph is accompanied by a 55-minute tutorial that shows you how I produce these images from CF card to blog. Affecting memory with photography is partly a function of translating what we find so pleasurable about primary visual experience into the medium of digital photography. As I mention in my "Materials and Methods" page, I believe HDR photography is so exciting and interesting to many people because it simulates constancy phenomena that we experience every day. Shadows are never pure black, bright lights are never pure white – we perceive color and luminosity as a function of local environment – i.e. we make a subconcious calculation as to an object’s brightness and color based on how it is lit. HDR is one of the only photographic techniques I’ve come across that triggers those calculations in a static, 8-bit image. What I hope you gain from watching the video is an appreciation of how to reproduce those phenomena and how to make great HDR images. Moreover, if you listen carefully during the video you’ll be able to hear one of my cats meowing loudly as if to ask me what the hell I was doing talking to my computer screen late at night!
A Golden Memorial.
There are several reasons I picked this photograph as the first for The Golden Sieve. First, I’m a bit of a geek, and as far as I understand, this is one of the first places that was photographed in HDR, and that makes it all the more fun to use as a template for playing with new "HDR" techniques. Now a member of the research community at Stanford University, I am proud to call this place home and was very eager to take my camera for a first visit to the crown jewel of campus. You will assuredly see many more photographs from inside the church in the future as it is such a great place for photography (if not a little overcrowded on the weekends!).
Stanford University is a memorial in honor of Leland Stanford Junior, whose life was cut short and whose fabulously wealthy and industrious parents commissioned a school in his honor. The Memorial Church was built by Jane Stanford to honor her husband and as such is something of a memorial within a memorial. It is a golden and crimson space that is resplendent with light (making it a great first subject for HDR) and is the golden sieve writ in stone and glass. If memory captures and stores positive experience, then this building is a testament to the power of that sieving capacity. Of all the long years that the Stanfords shared, through their great personal tragedy and onward, they found it in their hearts to give and to produce something as noble as a University.
What tremendous foresight they had in hiring Olmsted to design the campus and in setting up the trust so that it would remain large even when it had no use for its vast acreage. The university’s flexibility and prime location (seriously it is beautiful out here) made it a natural birthing ground for the information age (here is a very interesting piece about how and why Silicon Valley is where it is). Through all this the Memorial Church has stood (despite serious damage during the 1906 earthquake) and has provided hallowed ground for the formation of countless golden memories of faculties, students, staff, and visitors. What better starting image could there be.
My first attempts to gain access to the church having ended in some frustration (I seem not to be blessed here with the same luck of timing as I was in Chicago’s Rockefeller Chapel), I decided to commit the hours to memory and return during a lunch hour some weekend while I was at work. The interior was cool but a little humid, crowded and lit by huge beams of noon sunlight that slammed off of the stone walls and created deep shadows and very bright highlights. There were tourists and visitors everywhere.
I set up and waited for a lull in the activity. I’ve noticed people tend to move in groups, even when a group of people is composed of strangers. Perhaps we all heed social queues about when and where to walk and leave and come and go when in public spaces. Time ticked by and the church emptied, the heavy door creaking shut and leaving me to produce this series of images. During the last few exposures, a new group moved in through the door behind me and I held them off for a moment while the shutter counted down its seconds. Oh yes, I will be back.
Come, have a seat in the chapel as I evangelize modern, digital photography:



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Jefferson Memorial

Jefferson Memorial
interior design major

Image by dbking
Jefferson Memorial

THOMAS JEFFERSON (1743-1826)
•Third President of the United States (1801-1908)
•Second Vice President, serving with John Adams, although they were from different political parties (1797-1801)
•First Secretary of State
•Prolific writer
•Primary author of the Declaration of Independence
•Delegate to the Continental Congress
•Governor of Virginia (1779-1781)
•Founder of the University of Virginia (in Charlottesville)
•Experimental planter who started the wine industry in Virginia
•Musician
•Architect who submitted designs anonymously for both the Capitol and the White House
•Inventor who invented wire coat hangers, swivel chairs and sliding doors

•Cornerstone laid in 1939

•Dedicated by Franklin Delano Roosevelt on April 13, 1943 — the 200th anniversary of Jefferson’s birth

•Original architect, John Russell Pope, envisioned a memorial twice this size; his partners scaled it down after taking over the project on Pope’s death

•Classical design, modelled after Jefferson’s design of the Rotunda of the University of Virginia, which Jefferson based on the Pantheon in Rome

•The 26 Ionic columns symbolize the 26 states in the Union at the end of Jefferson’s terms as president . The addition of the territory provided in the Louisiana Purchase gave rise to the 13 additional states.

•The carving on the tympanum (triangular section of the pediment over the entrance to the memorial) was designed by Adolph Alexander Weinman; it represents the five-man committee assigned by the Continental Congress to draft the Declaration of Independence; the figures from left to right are:
Benjamin Franklin
John Adams
Thomas Jefferson (standing)
Roger Sherman
Robert Livingston

•FDR asked that the memorial be placed so he could see it from the White House and gain inspiration; if you stand with your back to Jefferson, you can see the White House across the Tidal Basin through the trees

The Statue
•Designed by Rudolph Evans

•19 feet tall, made of bronze

•Jefferson is posed as if he were addressing the Continental Congress

•In his left hand he holds a copy of the Declaration of Independence

•He is wearing a coat given to him by Tadeusz Kosciuszko, Polish patriot who fought in the Revolutionary War

•The bronze statue was not installed when the Memorial was dedicated; a war-time limit on civilian use of bronze prohibited its casting; a full-size plaster statue was placed here which the bronze statue replaced in 1948

The Carved Texts
•The texts carved on the interior walls of the memorial are excerpts from various writings of Jefferson

•Behind the statue and to the right is an excerpt from the Declaration of Independence

•Immediately to your right as you enter the rotunda is an excerpt from the Act for Religious Freedom written by Jefferson and passed by the Virginia legislature — Jefferson considered this act to be one of his three most important accomplishments

•Immediately to your left as you enter the rotunda are six quotations from Jefferson’s letters and notes on slavery and education

•Behind the statue and to the left are quotations on government taken from a letter written to Samuel Kercheval in 1816

•The quotation encircling the base of the dome was taken from a letter written to Benjamin Rush in 1800

————————————————————————————————————–

The Jefferson Memorial is a monument in Washington, DC to Thomas Jefferson. It combines a low neo-classical saucer dome with a portico.
By 1930, there were monuments in Washington commemorating great United States presidents such as Abraham Lincoln and George Washington. President Franklin Roosevelt thought that Thomas Jefferson also deserved a monument.
In 1934, following his initiative, Congress passed a resolution to create a monument commemorating Jefferson. The memorial was designed by John Russell Pope (1874 – 1937), the architect of the original (west) building of the National Gallery of Art. It reflects characteristics of buildings designed by Jefferson such as Monticello and the Rotunda, which were a result of his fascination with Roman architecture. It bears a close resemblance to the Pantheon of Rome. The cornerstone was laid in 1939 and the monument cost slightly more than million. It was officially dedicated in 1943, after Pope’s death. One of the last American public monuments in the Beaux-Arts tradition, it was severely criticized even as it was being built, by those who adhered to the modernist argument that dressing 20th-century buildings like Greek and Roman temples constituted a "tired architectural lie." More than 60 years ago, Pope responded with silence to critics who dismissed him as part of an enervated architectural elite practicing "styles that are safely dead".

The Thomas Jefferson Memorial, modeled after the Pantheon of Rome, is America’s foremost memorial to our third president. As an original adaptation of Neoclassical architecture, it is a key landmark in the monumental core of Washington, DC The circular, colonnaded structure in the classic style was introduced to this country by Thomas Jefferson. Architect John Russell Pope used Jefferson’s own architectural tastes in the design of the Memorial. His intention was to synthesize Jefferson’s contribution as a statesman, architect, President, drafter of the Declaration of Independence, adviser of the Constitution and founder of the University of Virginia. Architects Daniel P. Higgins and Otto R. Eggers took over construction upon the untimely death of Pope in August 1937. The Thomas Jefferson Memorial Commission was created to direct the erection of a memorial to Thomas Jefferson by an Act of Congress approved in June 1934. The present-day location at the Tidal Basin was selected in 1937. The site caused considerable public criticism because it resulted in the removal of Japanese flowering cherry trees from the Tidal Basin. Further controversy surrounded the selection of the design of the Memorial. The Commission of Fine Arts objected to the pantheon design because it would compete with the Lincoln Memorial. The Thomas Jefferson Commission took the design controversy to President Franklin D. Roosevelt who preferred the pantheon design and gave his permission to proceed. On November 15, 1939, a ceremony was held in which President Roosevelt laid the cornerstone of the Memorial.
In 1941, Rudolph Evans was commissioned to sculpt the statue of Thomas Jefferson. The statue of Jefferson looks out from the interior of the Memorial toward the White House. It was intended to represent the Age of Enlightenment and Jefferson as a philosopher and statesman. The bronze statue is 19 feet tall and weighs five tons. Adolph A. Weinman’s sculpture of the five members of the Declaration of Independence drafting committee submitting their report to Congress is featured on the triangular pediment. Also noteworthy, and adorning the interior of the Memorial, are five quotations taken from Jefferson’s writings that illustrate the principles to which he dedicated his life.

Few major changes have been made to the Memorial since its dedication in 1943. The most important change to note is the replacement of the plaster model statue of Thomas Jefferson by the bronze statue after the World War II restrictions on the use of metals were lifted. Each year the Jefferson Memorial plays host to various ceremonies, including annual Memorial exercises, Easter Sunrise Services and the ever-popular Cherry Blossom Festival. The Jefferson Memorial is administered and maintained by the National Park Service.

•Ground breaking: December 15, 1938.
•Architect: John Russell Pope.
•Cornerstone laid: November 15, 1939.
•Sculpture of Jefferson statue: Rudolph Evans.
•Sculpture of relief above entrance: A.A. Wineman.
•Total cost: ,192,312.
•Size of grounds: 2.5 acres (1.0117 hectare, 10117.1 square meters).
•Estimated Weight: 32,000 tons.
•Height from road to top of dome: 129 feet, 4 inches (39.42 meters).
•Height from floor to ceiling of dome: 91 feet, 8 inches (27.94 meters).
•Height from floor to top of dome – exterior: 95 feet, 8 inches (29.16 meters).
•Thickness of dome: 4 feet (1.22 meters).
•Weight of memorial: 32,000 tons (29029.9 metric tons).
•Piers to bedrock (maximum depth): 138 feet, 3 inches (42.14 meters).
•Ceiling: Indiana limestone.
•Exterior walls and columns: Danby Imperial Marble (Vermont).
•Interior floor: Tennessee pink marble.
•Interior wall panels: Georgian white marble.
•Pedestal: Missouri gray marble.

•Statue Height: 19 feet (5.79 meters).
•Height of pedestal: 6 feet (1.83 meters).
•Material: Bronze.
•Statue Weight: 10,000 pounds (4535.92 kilograms).



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Nice Interior Designers photos

roger davies
interior designers

Image by Sterin



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1934 - 1939 Mercedes-Benz W31 (Typ G4)

1934 – 1939 Mercedes-Benz W31 (Typ G4)
car interior design

Image by Georg Sander (GS1311)
The Mercedes-Benz W31 typ G4 was a German three-axle off-road vehicle first produced by Mercedes-Benz as a staff/command car for the Wehrmacht in 1934. The cars were designed as a seven-seater touring car or closed saloon and were mainly used by upper echelons of the Nazi regime in parades and inspections as they were deemed too expensive for general Army use.

The G4 was a development of the G1, launched in 1926. In the first three years of production they had an 8-cylinder inline engine of 5018 cc displacement delivering 100 PS (74 kW). An unsynchronized four-speed transmission transferred the power to all four rear wheels, or optionally to all six wheels. The rear wheels were attached to two rigid axles 950 mm apart, which were suspended in joint semi-elliptic leaf springs. The front axle was rigid with semi-elliptic springs. All six wheels had hydraulic brakes with servo assistance. The top speed was only 67 km/h (42 mph), limited by the type of all-terrain tyres. Only 11 of these vehicles were delivered to the Wehrmacht. The car used an elongated box-section frame that allowed for generous interior room with comfortable seating for up to 7. Seating was provided by two benches (front and rear) and one middle-placed row of seats with separate arm rests.

From 1937 a more powerful engine of 5252 cc and 115 PS (85 kW) was used. The performance remained the same. Between 1937 and 1938 16 cars were built.

From 1938 a larger motor of 5401 cc and 110 PS (81 kW) was used. Vehicles of this model were used by Adolf Hitler and his staff in parades marking the occupation of Austria and the annexation of the so-called residual Czech Republic. The last year of production was 1939. 30 cars of this model were built.

(Wikipedia)

- – -

Der dreiachsige Geländewagen Mercedes-Benz Typ G4 entstand als schwerer Geländewagen für die Wehrmacht im Jahre 1934. Nach dem ersten Versuch 1926 mit dem Typ G1 startete Daimler-Benz nun noch einen Anlauf. Das Modell trug die interne Baumusterbezeichnung W 31.

Die Wagen waren als siebensitzige Tourenwagen oder geschlossene Limousinen ausgeführt. Durch sein hohes Gewicht von 3,7 Tonnen wurde der G4 vor allem zum Repräsentieren auf der Straße eingesetzt.

In den ersten drei Produktionsjahren besaßen sie obengesteuerte Achtzylinder-Reihenmotoren mit 5018 cm³ Hubraum, der maximal 100 PS (74 kW) liefert. Ein unsynchronisiertes Vierganggetriebe mit Vorgelege leitet die Kraft an alle vier Hinterräder oder wahlweise an alle sechs Räder weiter. Die Hinterräder hängen an zwei Starrachsen mit einem Abstand von 950 mm, die an gemeinsamen halbelliptischen Blattfedern aufgehängt sind. Auch die Vorderachse ist starr und hat Halbelliptikfedern. Alle sechs Räder haben hydraulische Bremsen mit Saugluftunterstützung. Die Höchstgeschwindigkeit liegt bei 67 km/h. Lediglich elf dieser Fahrzeuge wurden an die Wehrmacht geliefert.

Ab 1937 wurde ein stärkerer Motor eingebaut. Er hat 5252 cm³ Hubraum und leistet 115 PS (84,5 kW). Die Fahrleistungen blieben – begrenzt durch die Bauart der Geländereifen – gleich. 1937 und 1938 wurden 16 Fahrzeuge gebaut.

1938 kam ein nochmals größerer Motor zum Einsatz. Er hatte 5401 cm³ Hubraum, liefert aber nur 110 PS (81 kW). Nachdem die Reichskanzlei einige Fahrzeuge für Adolf Hitler und seinen Stab orderte – eingesetzt als Kommandeurswagen z. B. bei der Besetzung Österreichs und der Annexion der sogenannten Rest-Tschechei – konnte Daimler-Benz im letzten Produktionsjahr 1939 nochmals 30 Wagen absetzen.

(Wikipedia)



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02i Racquet Club Estates - Racquet Club & Via Miraleste

02i Racquet Club Estates – Racquet Club & Via Miraleste
interior design schools in california

Image by Kansas Sebastian
Palm Springs Mid-Century Modern.

In August, 2013, Greg and I trekked out to Palm Springs for a friend's birthday party – I know, an unforgivable time of year, unless you like 110 degrees and 75% humidity! While we were there, we decided to check out mid-century modern neighborhoods, considering retirement is just around the corner (10 years, assuming I'll be able to retire). What we saw, we liked. We left thinking, "Yeah, we could do this." But back at home, in Silver Lake, reality set in. The "Sure, why not?" turned into "Hell no!" Still, we love the architecture, and it's something to keep in mind. . .

01 – Title Page – Palm Springs Modern Committee (PS MODCOM) – A Map of Modern Palm Springs. But you'll have to plunk down the for your own copy, and support the cause like we did. Sorry.

02 – Racquet Club Estates, Racquet Club Drive & Via Miraleste, 1959 to 1961, William Krisel for the William Alexander Construction Company,– This was our first stop on our adventure. The Racquet Club Estates looks like a great neighborhood, on its way up (hopefully). The entire neighborhood looks almost like it's right out of the mind of the creator for the Jettson's. I especially loved the original garage doors.

03 – Alexander Steel Houses, Simms & Sunnyview (300 & 330 E Molino Rd, 3100, 3125, 3133, 3165 Sunny View Dr, & 290 Simms Rd), 1960 – 1962, Donald Wexler and Richard Harrison for the William Alexander Constriction Company. It's amazing how often the name "William Alexander" comes up when talking mid-century architecture in Palm Springs. Here he attempted something new – houses made of all steel. (I know, desert/steel. Right?) It turned out to be not such a hot idea (or rather, too hot of one). What had been planned as a whole subdivision, ended up realizing only 7 magnificent houses. Number 2 is even on the National Register of Historic Places. You can see some interesting stuff in the eligibility statement with the NPS: ohp.parks.ca.gov/pages/1067/files/steel%20development%20h…

04 – Carey-Pizzoli House, 600 W Panorama Dr, 1946, Albert Frey. This is the kind of house you look at and think, "That's an ugly mid-1960's split-level ranch house. Why is it on the PS MODCOM map?" Then you read the description again, and think, "What? 1946?" Then you realize why it's on the list. It preceded the tract ranch houses by 20 years. The architect, Albert Frey, was visionary.

05 – Shapiro House, 711 W Panorama Dr, 1969, Michael Black. I'm not a fan of Michael Black, but the house is interesting, with the huge private interior courtyard and futuristic Star Wars design.

06 – Franz Alexander House, 1011 W Celio Dr, 1954, Walter White. I'm not so familiar with Walter White's work, probably because the numbers of structures are few. But what he did, he did well! This house is reminiscent of the early modernists like Neutra and Schindler (evidenced by the long band of windows facing the street and simplicity of design), yet predict the work of new masters like Gehry and Pie (evidenced by the wonderful pagoda roof and the use of common materials).

07 – Palevsky House, 1021 W Celio Dr, 1968, Craig Elwood. A classic modernist compound by a master of his trade.

08 – View of the Coachella Valley from W Celio Drive.

09 – Edris House, 1030 W Celio Dr, 1953, E Stewart Williams. With a commanding view of the Coachella Valley, this house is expertly designed to take in the amazing view. An inverted roof is held down by a rock chimney, anchoring the house to the cliff.

10 – Raymond-Loewy House, 600 W Panorama Rd, 1946, Albert Frey. Perfectly situation on the site, this striking house is nestled in behind boulders and trees for maximum privacy. It's Albert Frey at his best. Unfortunately, it's impossible to photograph from the street!

11 – Alexander-May House, 424 W Vista Chino Rd, 1952, Edward Fickett. Quintessential Fickett. Behind the added three-car garage, which now dominates the façade, is the original modernist intent. His
ideas here (especially the entrance) would be widely used in many late 60's and early 70's designs.

12 – Kaufmann Desert House, 470 W Vista Chino Rd, 1946, Richard Neutra. He Kaufmann house is a work of art. This is the house which is most-often compared with Frank Lloyd Wright's Falling Water. What else can you say about Neutra's design that hasn't already been said? Nothing. It's perfect. Simply perfect. en.wikipedia.org/wiki/Kaufmann_Desert_House and en.wikiarquitectura.com/index.php/Kaufmann_House

13 – House of Tomorrow (Robert & Helene Alexander House), 1350 Ladera Cir, 1962, William Krisel. It's a house! It's a plane! It's. . it's. . . different. I'm not sure what I expected from the "House of Tomorrow," but this wasn't quite it. It's more like the "House of Yesterday's Tomorrow." But it's still an innovated and charming house. Less charming was the owner's assistant trying to sell us on per person tour tickets, just to see where Elvis and Priscilla Presley slept on their honeymoon. Really?

14 – Las Palmas Estates, Camino Sur Rd & Via Vadera, 1950's, William Krisel and Charles DuBois (Separately). These houses are fanciful and fun, and for some inexplicable reason makes you think of Bedrock! Maybe they designed the houses from a neighborhood such as this.

15 – Dina Shore Estate, 432 Hermosa Rd, 1964, Donald Wexler. Not exactly forward thinking, rather it's a solid and well-executed example of large-scale residential mid-century modern architecture. It gives the initial impression of a school or library, with the extensive park grounds, but that only adds to the character.

16 – All Worlds Resorts. I couldn't resist. Here's how the rest of us live when we're on vacation.

Still, though, not bad.
For those interested in Palm Springs
mid-century architecture, there's a great website with more pictures: rebeccaandstephen.com/gallery/midcenturymodern/



Tags:Club, Estates, Miraleste, Racquet

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Nice Best Interior Design Schools photos

Bad Architecture II
best interior design schools

Image by isar21
You might wonder why I consider this bad architecture, so I try to tell you why:
What you see here is the facade of a primary school, designed by a famous german architect.
Enough? No?
O.k. at least in my humble opinion, schools should support or even serve children. This building just serves itself. It also falls in pieces after only a couple of years of usage. The architects don´t allow the necessary changes, since they regard this a violation of their copyrights.
It is really amazing, since the first impression of the design is quite positive, modern architecture. The amount of mistakes they have committed is absolutely amazing as well. For example it is very hard to spot the entrance of the building, windows can´t be opened, the main interior color is black, etc. pp.
I have to stop here, otherwise its going to be long list.
Just one more sentence: In my point of view, all Architecture and Design has to serve its users.If this rule is properly executed, its likely that the result will turn out to be elegant and visually pleasing.
But this doesn´t mean, all elegant and visually pleasing design, necessarely solve functional problems and serves human beings.
Just my two cents.



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gothic powder room

gothic powder room
interior designer

Image by champagne.chic
These black stripes are done using flat paint and high gloss paint… the red glass sink really pops off the black walls…



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Christopher Barson: Personal Residence

Christopher Barson: Personal Residence
interior designer

Image by Christopher Barson
I paused-started-paused that Madonna video about 10 times before I could get a perfectly focused picture on the screen for this shot….I held my hand over the automatic flash on my Sony Camera so that the warm and sexy glow of the room would be exposed. Modern doesn’t have to be straight-lines..nor does it have to be based on primary colors…look closely at the details of my living room…the only straight lines in this room are on the sofa, the wooden blinds and the television…and the only primary color is on the decorative vase on my little French side table. When my Mother saw this shot, she scolded me for not turning off the television for the photograph…why I aughta…



Tags:Barson, Christopher, Personal, Residence

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Blogged

Blogged
home interior design

Image by girlsmeg.tumblr.com
nicolette.blogger.tumblr.com



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