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So you want to start an interior design business? When I first started my business, I was pretty broke. I had just moved to another city and was using savings to live on because I didn't have any clients (aka income). I remember my mom sent me a hundred-dollar bill and

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Richard England a parsemé l’île de Malte d’architectures post-modernes aux couleurs pastel, rappelant des tableaux en deux dimensions. Élève de Gio Pont

A look at the roles of architect and strategist, and how they help develop successful technology strategies for business.

Digital PDF Book Instant Download. Download it direct to your iPad, tablet or computer for instant reading or printing. Floriated Ornament A series of 31 Rare illustrations 41 Pages of Decorative Designs If you have any interest in floral ornamentation then this is a great book to have in your collection. The original edition of this Rare book was printed in 1849 By AUGUSTUS WELBY PUGIN Architect ****====================================================**** My Personal 100% Guarantee To You If you Buy this Book and after reading it, You feel that You did not get Your Money's worth from it, Message me and I will cancel your purchase and Refund Your Money. And You Can Keep The Book as My Personal Gift To You. ****====================================================**** INTRODUCTION. The present work originated in the following circumstance :—on visiting the studio of Mons. Durlet, the architect of Antwerp cathedral and designer of the new stalls, I was exceedingly struck by the beauty of a capital cast in plaster, hanging amongst a variety of models, which appeared to be a fine work of the thirteenth century. On asking if he would allow me to have a squeeze from it, he readily consented, but at the same time informed me, to my great surprise, that the foliage of which it was composed had been gathered from his garden, and by him cast and adjusted in a geometrical form round a capital composed of pointed mouldings. This gave me an entirely new view of medieval carving ; and, pursuing the subject, I became fully convinced that the finest foliage work in the Gothic buildings were all close approximations to nature, and that their peculiar character was chiefly owing to the manner of their arrangement and disposition. During the same journey I picked up a leaf of dried thistle from a foreign ship unloading at Havre, and I have never seen a more beautiful specimen of what we should usually term Gothic foliage : the extremities of the leaves turned over so as to produce the alternate interior and exterior fibres, exactly as they are worked in carved pannels of the fifteenth century, or depicted in illuminated borders. The more carefully I examined the productions of the medieval artists, in glass painting, decorative sculpture, or metal work, the more fully I was convinced of their close adherence to natural forms. At the beginning of this work I have introduced a plate of glass remains, taken from antient examples in the Kentish churches ; and also a variety of painted enrichments from various churches in Norfolk and Suffolk, which will fully justify this assertion. It is absurd, therefore, to talk of Gothic foliage. The foliage is natural, and it is the adaptation and disposition of it which stamps the style. The great difference between antient and modern artists in their adaptation of nature for decorative purposes, is as follows. The former disposed the leaves and flowers of which their design was composed into geometrical forms and figures, carefully arranging the stems and component parts so as to fill up the space they were intended to enrich ; and they were represented in such a manner as not to destroy the consistency of the peculiar feature or object they were employed to decorate, by merely imitative rotundity or shadow ; for instance, a pannel, which by its very construction is flat, would be ornamented by leaves or flowers drawn out or extended, so as to display their geometrical forms on a flat surface. While, on the other hand, a modern painter would endeavour to give a fictitious idea of relief, as if bunches of flowers were laid on, and, by dint of shadow and foreshortening;, an appearance of cavity or projection would be produced on a feature which architectural consistency would require to be treated as a plane ; and instead of a well-defined, clear, and beautiful enrichment, in harmony with the construction of the part, an irregular and confused effect is produced, at utter variance with the main design. The present work has been produced for the dissemination of these principles, and to assist in removing the reproach of mere servile imitation, so often cast on those who work after the antient manner. Nature supplied the medieval artists with all their forms and ideas ; the same inexhaustible source is open to us : and if we go to the fountain head, we shall produce a multitude of beautiful designs treated in the same spirit as the old, but new in form. We have the advantage of many important botanical discoveries which were unknown to our ancestors ; and surely it is in accordance with the true principles of art, to avail ourselves of all that is beautiful for the composition of our designs. I trust, therefore, that this work may be the means of leading designers back to first principles ; and that as by repeated copying the spirit of the original work is liable to be lost, so in decoration the constant reproduction of old patterns, without reference to the natural type for which they were composed, leads to debased forms and spiritless outline, and in the end to a mere caricature of a beautiful original. It is impossible to improve on the works of God; and the natural outlines of leaves, flowers, &c. must be more perfect and beautiful than any invention of man. As I have stated above, the great skill of the antient artists was in the adaptation and disposition of their forms. The present effort can only be considered as a mere sketch of what can be produced on those principles. As the patterns are principally intended for stencilling, those colours most in use have been selected ; but in many cases the natural colour as well as form would greatly improve the effect. As regards the nomenclature of the plants, &c. selected, I have taken it from a very curious and beautiful old botanical work, entitled, "Tabernae montanus eicones Plantarum," printed at Francfort in 1590. If there are any errors or singularities in any of the names engraved on the plates, they are taken from the work in question, as I am unfortunately not sufficiently learned in botany to distinguish any mistake in these respects. A. WELBY PUGIN St. Augustine's, Ramsgate, Feast of St. Michael, 1849. LIST OF PLATES. 1.—Frontispiece. 2.— Title Page. 3.— Glass Quarrels for Old Kentish Churches. 4.—Examples of Ancient Floriated Ornament. 5.—1. Oxys floribus enteis; 2. Cyperus dulcis Theophrasti; 3. Absinthium marinum; 4. Acarna Theophrasti Anguillarse; 5. Iva muschata. 6.—1. Caryophyllus montanus; 2. Lychnis sylvestris purpurea; 3. Camphorata Monspelica; 4; Viola Martia purpurea; 5. Lychnis arvensis. 7.—1. Pyromelo ; 2. Colocynthus mas; 3. Finnaria latifolia major; 4. Thlaspi Pannonicum; 5. Primula veris. 8.—1. Spartium Hispaniarum; 2. Cytisus cornutus; 3. Anemone major alba; 4. Genista; 5. Cytisus adulterinus. 9.—1. Cucumis Turcicus; 2. Ornithogalum luteum; 3. Absinthium album; 4. Narcissus polyanthus Matthioli; 5. Leucotum violaceum. 10.—1. Sonchus sylvaticus; 2. Reseda latifolia; 3. Anemones Chalcedonica major; 4. Ruta tenuifolia; 5. Scabiosa major. 11.—1. Scabiosa major Hispanica; 2. Filipendula montana; 3. Artemisia Dioscoridis; 4. Fragrum trifolium fragiferum; 5. Eufrasia ccerulea. 12.—1. Geranium Rupertianum; 2. Caryophyllus Carthusianorum; 3. Geranium arvense; 4. Lychnis plumaria; 5. Jacea alba. 13.—1. Viola Martia arborescens lutea; 2. Viola Martia purpurea multiplex; 3. Fumaria bulbosa; 4. Viola petrae lutea multiplex; 5. Ocymastrum rubrum. 14.—1 . Ranunculus sylvestris minor; 2. Viola canina; 3. Absinthium ponticum Galeni; 4. Cardamine trifolia; 5. Viola hyemalis. 15.—1. Phalangium Narbonense; 2. Hieracium minus Dioscorides; 3. Thalictrum Herba Sophia latifolia; 4. Chondrilla alba; 5. Sonchus lenis angustifolia. 16.—1. Rosa Englenteria; 2. Rosa muscata alba; 3. Libanotis; 4. Cistus Ledon myrtifolium; 5. Herba Benedicta. 17.—1. Sonchus asper; 2. Ranunculus dulcis; 3. Artemisia tenuifolia; 4. Frumentum anyleum; 5. Phalangium non ramosum. 18.—1. Auricula ursi; 2. Origanum Heracleoticum; 3. Aquifolium; 4. Telephium purpureum; 5. Heliotropium minus. 19.—1. Chamasitea; 2. Iva muschata; 3. Brassica Anglica; 4. Lychnis plumaria; 5. Lychnis sylvestris. 20.—1. Calamintha amensis; 2. Thlaspi minus clypeotum; 3. Abrotanum humile; 4. Vulnaria; 5. Cramen aquaticum. 21.—1. Maiorana sive Amaricus major; 2. Viola lunaris; 3. Flos Aphricanus minor flore simplici; 4. Nasturtium petrseum; 5. Tormentilla consolida rubra. 22.—1. Ocymastrum rubrum; 2. Lychnis sylvestris; 3. Absinthium montanum seu Romanum 4. Vaccaria; 5. Flos cuculi. 23.—1 . Cramen vulgare; 2. Filipendula Saxifraga rubra; 3. Buphtalmum; 4. Lychnis plumaria; 5. Herba articularis. 24.—1. Lilium Saracenicum; 2. Persoonia flexifolia; 3. Fuchsia gracilis; 4. Sytyrium triphyllon 5. Lilium album; 6. Triorchis major mas; 7. Ribes triflorum; 8. Carduus lanceolatus; 9. Bryngium Alpinum cceruleum. 25.—1. Fumaria bulbosa; 2. Fumaria bulbosa; 3. Fumaria bulbosa; 4. Geranium violaceum; 5. Curcubita largenaria major. 26.—1. Dipsacus; 2. Carduus lanceolatus; 3. Melanthium agreste Nigella arvensis; 4. Periclimenum; 5. Tithymalus minimus. 27.—1. Hex coccifera; 2. Fumaria latifolia minor; 3. Quinquefolium Theophrasti; 4. Hypericum Alexandrinum; 5. Jasminium coeruleum. 28.—1. Trifolium bituminosum; 2. Trifolium cordatum; 3. Cumerium sylvestre; 4. Oxys floribus luteis 5. Fragum trifolium. 29.—1. Alsine hedezacea; 2. Plantago aquatica minor; 3. Malva arborea; 4. Tithymalus pazalius Matholi; 5. Arcania Theophrasti; 6. Chrysosplenon; 7. Saxifraga alba. 30.—1. Holostium umbellatum; 2. Herba benedicta; 3. Lysimachia minor; 4. Convolvus coeruleus 5. Panaces costinum; 6. Soldanella; 7. Hypericum Alexandrinum; 8. Volubilis major. 31.—1. Lilium marinum album; 2. Narcissus juncifolius; 3. Narcissus medioluteus; 4. Cytisus aduterinus; 5. Pseudonarcissus luteus; 6. Ledum Alpinum; 7. Vitis idaea IV.; 8. Narcissus medioluteus; 9. Cytysus I.; 10. Tithymalus amygdaloides. ====================

In their vernacular forms the country cabin and beach house are most often envisioned as rough and woody as well as shingled and white-washed, respectively. Fi

Reflecting both the fresh vision of the Athens Epidaurus Festival and the demand for stronger emphasis on promotion and openness in connection to Greece’s leading cultural organisation through various applications, the Festival’s new brand identity responds to two basic needs.

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It's my husband's birthday next week so I've been doing some planning. Since he loves eating out, at least part of his present should be vi...

Pictures don't do it justice. Soaring ceilings and epic arches make this an architects dream.

Completed in 2011 in Kobe, Japan. Images by Kenichi Suzuki. I have been somewhat anxious about what an architecture in a place commanding a fine view should be. It is the state of affairs freezing affect...

So you want to start an interior design business? When I first started my business, I was pretty broke. I had just moved to another city and was using savings to live on because I didn't have any clients (aka income). I remember my mom sent me a hundred-dollar bill and I was so relieved that I cried. True story.If you're starting like I did, don't dismay. You can do it. These things are all very important and I truly wish I would have slammed down my credit card and set this all up before I started my business because it would have been easier than the diy hacking that I did for a while.

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Digital PDF Book Instant Download. Download it direct to your iPad, tablet or computer for instant reading or printing. Floriated Ornament A series of 31 Rare illustrations 41 Pages of Decorative Designs If you have any interest in floral ornamentation then this is a great book to have in your collection. The original edition of this Rare book was printed in 1849 By AUGUSTUS WELBY PUGIN Architect ****====================================================**** My Personal 100% Guarantee To You If you Buy this Book and after reading it, You feel that You did not get Your Money's worth from it, Message me and I will cancel your purchase and Refund Your Money. And You Can Keep The Book as My Personal Gift To You. ****====================================================**** INTRODUCTION. The present work originated in the following circumstance :—on visiting the studio of Mons. Durlet, the architect of Antwerp cathedral and designer of the new stalls, I was exceedingly struck by the beauty of a capital cast in plaster, hanging amongst a variety of models, which appeared to be a fine work of the thirteenth century. On asking if he would allow me to have a squeeze from it, he readily consented, but at the same time informed me, to my great surprise, that the foliage of which it was composed had been gathered from his garden, and by him cast and adjusted in a geometrical form round a capital composed of pointed mouldings. This gave me an entirely new view of medieval carving ; and, pursuing the subject, I became fully convinced that the finest foliage work in the Gothic buildings were all close approximations to nature, and that their peculiar character was chiefly owing to the manner of their arrangement and disposition. During the same journey I picked up a leaf of dried thistle from a foreign ship unloading at Havre, and I have never seen a more beautiful specimen of what we should usually term Gothic foliage : the extremities of the leaves turned over so as to produce the alternate interior and exterior fibres, exactly as they are worked in carved pannels of the fifteenth century, or depicted in illuminated borders. The more carefully I examined the productions of the medieval artists, in glass painting, decorative sculpture, or metal work, the more fully I was convinced of their close adherence to natural forms. At the beginning of this work I have introduced a plate of glass remains, taken from antient examples in the Kentish churches ; and also a variety of painted enrichments from various churches in Norfolk and Suffolk, which will fully justify this assertion. It is absurd, therefore, to talk of Gothic foliage. The foliage is natural, and it is the adaptation and disposition of it which stamps the style. The great difference between antient and modern artists in their adaptation of nature for decorative purposes, is as follows. The former disposed the leaves and flowers of which their design was composed into geometrical forms and figures, carefully arranging the stems and component parts so as to fill up the space they were intended to enrich ; and they were represented in such a manner as not to destroy the consistency of the peculiar feature or object they were employed to decorate, by merely imitative rotundity or shadow ; for instance, a pannel, which by its very construction is flat, would be ornamented by leaves or flowers drawn out or extended, so as to display their geometrical forms on a flat surface. While, on the other hand, a modern painter would endeavour to give a fictitious idea of relief, as if bunches of flowers were laid on, and, by dint of shadow and foreshortening;, an appearance of cavity or projection would be produced on a feature which architectural consistency would require to be treated as a plane ; and instead of a well-defined, clear, and beautiful enrichment, in harmony with the construction of the part, an irregular and confused effect is produced, at utter variance with the main design. The present work has been produced for the dissemination of these principles, and to assist in removing the reproach of mere servile imitation, so often cast on those who work after the antient manner. Nature supplied the medieval artists with all their forms and ideas ; the same inexhaustible source is open to us : and if we go to the fountain head, we shall produce a multitude of beautiful designs treated in the same spirit as the old, but new in form. We have the advantage of many important botanical discoveries which were unknown to our ancestors ; and surely it is in accordance with the true principles of art, to avail ourselves of all that is beautiful for the composition of our designs. I trust, therefore, that this work may be the means of leading designers back to first principles ; and that as by repeated copying the spirit of the original work is liable to be lost, so in decoration the constant reproduction of old patterns, without reference to the natural type for which they were composed, leads to debased forms and spiritless outline, and in the end to a mere caricature of a beautiful original. It is impossible to improve on the works of God; and the natural outlines of leaves, flowers, &c. must be more perfect and beautiful than any invention of man. As I have stated above, the great skill of the antient artists was in the adaptation and disposition of their forms. The present effort can only be considered as a mere sketch of what can be produced on those principles. As the patterns are principally intended for stencilling, those colours most in use have been selected ; but in many cases the natural colour as well as form would greatly improve the effect. As regards the nomenclature of the plants, &c. selected, I have taken it from a very curious and beautiful old botanical work, entitled, "Tabernae montanus eicones Plantarum," printed at Francfort in 1590. If there are any errors or singularities in any of the names engraved on the plates, they are taken from the work in question, as I am unfortunately not sufficiently learned in botany to distinguish any mistake in these respects. A. WELBY PUGIN St. Augustine's, Ramsgate, Feast of St. Michael, 1849. LIST OF PLATES. 1.—Frontispiece. 2.— Title Page. 3.— Glass Quarrels for Old Kentish Churches. 4.—Examples of Ancient Floriated Ornament. 5.—1. Oxys floribus enteis; 2. Cyperus dulcis Theophrasti; 3. Absinthium marinum; 4. Acarna Theophrasti Anguillarse; 5. Iva muschata. 6.—1. Caryophyllus montanus; 2. Lychnis sylvestris purpurea; 3. Camphorata Monspelica; 4; Viola Martia purpurea; 5. Lychnis arvensis. 7.—1. Pyromelo ; 2. Colocynthus mas; 3. Finnaria latifolia major; 4. Thlaspi Pannonicum; 5. Primula veris. 8.—1. Spartium Hispaniarum; 2. Cytisus cornutus; 3. Anemone major alba; 4. Genista; 5. Cytisus adulterinus. 9.—1. Cucumis Turcicus; 2. Ornithogalum luteum; 3. Absinthium album; 4. Narcissus polyanthus Matthioli; 5. Leucotum violaceum. 10.—1. Sonchus sylvaticus; 2. Reseda latifolia; 3. Anemones Chalcedonica major; 4. Ruta tenuifolia; 5. Scabiosa major. 11.—1. Scabiosa major Hispanica; 2. Filipendula montana; 3. Artemisia Dioscoridis; 4. Fragrum trifolium fragiferum; 5. Eufrasia ccerulea. 12.—1. Geranium Rupertianum; 2. Caryophyllus Carthusianorum; 3. Geranium arvense; 4. Lychnis plumaria; 5. Jacea alba. 13.—1. Viola Martia arborescens lutea; 2. Viola Martia purpurea multiplex; 3. Fumaria bulbosa; 4. Viola petrae lutea multiplex; 5. Ocymastrum rubrum. 14.—1 . Ranunculus sylvestris minor; 2. Viola canina; 3. Absinthium ponticum Galeni; 4. Cardamine trifolia; 5. Viola hyemalis. 15.—1. Phalangium Narbonense; 2. Hieracium minus Dioscorides; 3. Thalictrum Herba Sophia latifolia; 4. Chondrilla alba; 5. Sonchus lenis angustifolia. 16.—1. Rosa Englenteria; 2. Rosa muscata alba; 3. Libanotis; 4. Cistus Ledon myrtifolium; 5. Herba Benedicta. 17.—1. Sonchus asper; 2. Ranunculus dulcis; 3. Artemisia tenuifolia; 4. Frumentum anyleum; 5. Phalangium non ramosum. 18.—1. Auricula ursi; 2. Origanum Heracleoticum; 3. Aquifolium; 4. Telephium purpureum; 5. Heliotropium minus. 19.—1. Chamasitea; 2. Iva muschata; 3. Brassica Anglica; 4. Lychnis plumaria; 5. Lychnis sylvestris. 20.—1. Calamintha amensis; 2. Thlaspi minus clypeotum; 3. Abrotanum humile; 4. Vulnaria; 5. Cramen aquaticum. 21.—1. Maiorana sive Amaricus major; 2. Viola lunaris; 3. Flos Aphricanus minor flore simplici; 4. Nasturtium petrseum; 5. Tormentilla consolida rubra. 22.—1. Ocymastrum rubrum; 2. Lychnis sylvestris; 3. Absinthium montanum seu Romanum 4. Vaccaria; 5. Flos cuculi. 23.—1 . Cramen vulgare; 2. Filipendula Saxifraga rubra; 3. Buphtalmum; 4. Lychnis plumaria; 5. Herba articularis. 24.—1. Lilium Saracenicum; 2. Persoonia flexifolia; 3. Fuchsia gracilis; 4. Sytyrium triphyllon 5. Lilium album; 6. Triorchis major mas; 7. Ribes triflorum; 8. Carduus lanceolatus; 9. Bryngium Alpinum cceruleum. 25.—1. Fumaria bulbosa; 2. Fumaria bulbosa; 3. Fumaria bulbosa; 4. Geranium violaceum; 5. Curcubita largenaria major. 26.—1. Dipsacus; 2. Carduus lanceolatus; 3. Melanthium agreste Nigella arvensis; 4. Periclimenum; 5. Tithymalus minimus. 27.—1. Hex coccifera; 2. Fumaria latifolia minor; 3. Quinquefolium Theophrasti; 4. Hypericum Alexandrinum; 5. Jasminium coeruleum. 28.—1. Trifolium bituminosum; 2. Trifolium cordatum; 3. Cumerium sylvestre; 4. Oxys floribus luteis 5. Fragum trifolium. 29.—1. Alsine hedezacea; 2. Plantago aquatica minor; 3. Malva arborea; 4. Tithymalus pazalius Matholi; 5. Arcania Theophrasti; 6. Chrysosplenon; 7. Saxifraga alba. 30.—1. Holostium umbellatum; 2. Herba benedicta; 3. Lysimachia minor; 4. Convolvus coeruleus 5. Panaces costinum; 6. Soldanella; 7. Hypericum Alexandrinum; 8. Volubilis major. 31.—1. Lilium marinum album; 2. Narcissus juncifolius; 3. Narcissus medioluteus; 4. Cytisus aduterinus; 5. Pseudonarcissus luteus; 6. Ledum Alpinum; 7. Vitis idaea IV.; 8. Narcissus medioluteus; 9. Cytysus I.; 10. Tithymalus amygdaloides. ====================

Jeffrey Dungan Architects is a close knit group of design professionals with a passion for making people’s lives better through the places we design. We work closely with our clientele always striving to understand their lives and create places of lasting beauty and permanence. Our focus is to merge architecture and structure with interiors that create the most thoughtful and cohesive experiences. We collaborate with talented artisans and interior designers from across the country, always having fun in the process.