Category: Traditional Architecture

With a fluffy filler and a design-statement fabric cover, a comforter may be the middle of attention in a bedroom. Choose coordinating or contrasting fabrics for every side, and change sides as the mood strikes.

A Bit of Math

Measure in the desired bottom edge of the comforter on a single side of the bed up to the mattress surface, across to the opposite side, then down to the desired bottom border on that side. Record the dimension as the width. Measure in the desired bottom edge at the foot of the bed up to the surface and up to the head of the bed. Insert 16 inches to this measurement for your final length. Divide the final width of this comforter by the diameter of your chosen fabric, then rounded up the figure. Multiply this amount by the final duration for the running inches of fabric required for all the top and bottom of the comforter. Divide the total operating inches by 36 to the number of yards of fabric required. For instance, the math for a completed comforter 80 inches wide and 88 inches long made of 45-inch fabric is: 80 divided by 45 equals 1.8, rounded up to two. 88 inches times two, which equals 176. Divide the resulting number by 36 to equivalent five yards for all the top and bottom. Insert 1/2 yard for straightening or adjustments.

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Chain-link fence is a great way to fence in a yard so kids and pets are kept safe from street traffic. Specifying the cost of your investment requires you to first determine just how many linear feet of fence you’re going to want, then deciding the substances needed to construct that span of fence. The cost varies depending on the materials you choose and also the spacing between articles. Once you’ve determined the items you’ll need, and their costs, then you can calculate the per-foot cost. Remember should youn’t plan to build the fence yourself, then you’ll need to add on the cost of work, also.

Measure It Up

The cost of your fence is ultimately dependent on the linear feet of fence you need. Measure where the fence line will run to ascertain how much fence material you’ll buy. Once you’ve got this, then you have to decide if you would like galvanized fence or vinyl-coated fence. Vinyl-coated fence costs almost double the cost as the galvanized type. You also wish to consider the height of the fence. Chain-link fence comes in heights ranging from 3 to 12 feet. The taller the fence, the more expensive it’s going to be. You also need fittings to attach the fence to the posts.

Figure In Gates

If you plan to set up lanes, determine how many and what each will be utilized for. If you have to push your lawn mower with a 42-inch deck by means of a gate, then you’ll need to install a double gate. A single gate will do the job for walking in and from the region. Each gate will need at least two hinges and a latch to hold it close. Some gates may come with these included in the purchase price, but not all do.

Posts and Top Rail

Chain-link fence is held in position by posts and a leading rail. Posts are spaced 4 to 10 feet apart; width is based on the height of the fence and manufacturer’s recommendation. Line posts create a streak fence, corner posts are installed where the fence changes direction, and terminal posts are for hanging gates or finish next to a wall. You will have to pour gravel and concrete in the holes to set the posts, so factor at the cost, too. The top railing is measured in linear feet and needs sleeves to install it. And don’t forget the top caps for every article.

Calculate the Price

First calculate the sum of fence material and upper railing by taking the total linear feet measured. For this instance, we will utilize 109 feet. Then subtract the amount of windows as well as the width of each. If you plan to install one single gate 3 feet wide and a single double gate 6 feet broad, you would take 109 feet without 9 feet, equaling 100 feet of fence stuff. Figure out the cost for all fence materials and add them together to get the entire cost. Include sleeves to set up the top railing, posts, caps, gate latches, and all of fittings to set up the fence. Posts should come with fittings for attaching the fence, but if they don’t, add that cost in also. Take the entire cost of all materials, like the gates, and split by 109 feet to locate cost per foot. If the entire cost for all materials is $500, for instance, the cost per foot will be $4.59.

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A round table is an efficient use of a room’s real estate. More people can be adapted around a round table than around a square or rectangular table. Use the method a decorator uses that will help you figure out the maximum size of table your room can hold and still be usable. Follow up with the improvement of the number of seats the table can adapt comfortably for a complete table-planning project.

Measure the width and length of this room. Draw a floor plan representation of this room on scale graph paper, with a scale of 1 square into equal 6 inches. As an example, if the chamber measures 16 feet by 12 feet, draw a room outline 32 squares by 24 squares.

Measure the width and place of the doors in the room. Indicate them on the graph paper using a break from the wall line equivalent to the position and width of the doorway. If the door opens into the room, then draw the place occupied by the door swing on the graph paper. The door swing signals the amount of space the doorway occupies since it opens. Pull the door swing for a half circle, the radius of this circle equal to the width of the doorway, the center of the diameter line aligning into the hinge side of the door.

Indicate the fireplace, if present, and any heat registers or ac units present in the room onto the floor plan. Indicate any furniture is to remain in the room, like a sideboard or buffet and hutch or sliding cabinet doors.

Draw a line around the floorplan, 36 inches from all of the obstacles, indicating the most distance to get a table. This is the place available to adapt the table and seats. (A seat requires a minimum of 36 inches from the edge of the table for simplicity of operation. Thirty-six inches equates to 6 squares on the floorplan.)

Gauge the narrowest distance on the floorplan from side to side in maximum distance available. This is the maximum-diameter table that can easily fit in the room and allow proper seat manipulation around the table.

Multiply the width of the table by 3.14 and divide the result by 24 inches to the number of seats that can fit comfortably around the table. As an example, if the width of the table is 60 inches, then the table can comfortably accommodate eight or seven people.

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Folding beds which disappear into cupboards can offer additional space in studio apartments or permit you to use 1 space as both home office and guestroom. Classic Murphy beds split into built-in closets, but modern versions often include their very own cupboards, so you don’t need a 1920s-style dressing closet in your room to install a Murphy bed. When you step for the setup, consider its height for ceiling clearance in addition to considering the typical dimensions for a bed.

Select the size and variety of Murphy bed you would like for the space. In addition to the typical twin, double and queen sizes, decide whether you want the bed to fold vertically or horizontally and whether you want the cabinet to include storage area on the sides.

Measure the wall horizontally where you intend to install the bed. It must be at least 47 inches wide to accommodate a twin bed you intend to mount vertically or 80 inches for a side-mount twin; 62 ins for a vertical full or 80 inches for a side-mount full; or 68 ins for a vertical total or 85 inches for a side-mount full. These measurements assume that you aren’t installing cabinet space. If you are, add the width of the side cupboards to the width of the bed itself, and inspect the entire dimension against the wall.

Measure from the ground upwards if you are installing a vertical bed to make sure the ceiling is high enough. Any room ought to be tall enough for side-mount beds. For a vertical twin or full, you need at least 82 1/2 ins; for a vertical queen, you need at least 87 1/2 inches.

Check the thickness of the cupboard if you are installing the bed to one instead of building a cabinet. The cupboard must be 21 3/4 inches deep for vertical beds or 20 3/4 heavy for side-mount beds.

Measure from the wall outside to the space to be sure you have sufficient space for the bed when it’s folded down. A vertical twin or full extends 85 1/4 inches to the space; a vertical queen goes in 90 1/4 ins; a side-mount twin extends in 49 1/4 ins; a side-mount full goes in 64 1/4 ins; and a side-mount queen goes in 70 1/4 inches.

Tape the dimensions of the folded-out bed on the ground. Move the remainder of the room’s furniture in the remaining space. Confirm it all fits and you have room to wander across the bed comfortably.

Confirm that the mattress will fit through all the doors and up any stairs essential to get it in the room. Measure the height of their doors and compare it to the width and length of the mattress. Be sure you have sufficient clearance to bring the bed to where you want it.

Look at your state’s building code to find out the window conditions for a space to be legal as a sleeping room. In California, the space must have a minumum of one openable window that leads to an exit route in case of a fire. The bottom window sill must be no higher than 44 inches above the ground; if the window is completely open, the opening should be at least 24 inches tall and 20 inches broad; the net clear openable area must be at least 5.7 square feet. To compute this area, multiply the height and width of the window in inches, then divide the product by 144. Measure the window in the room to confirm that it meets these criteria or the applicable criteria in your area.

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Radiators are one way of heating a room that has heater, central heating or no fireplace. But they need to be sized correctly for the effective energy usage. When a radiator is little, it cannot keep a room’s occupants warm. When it is big, it can cycle on and off more often, using up energy.

Assess the length, height and width of the room in feet. Multiply all 3 values to determine the footage of the space. For instance, if you’ve got a room that measures 12 feet by 10 feet wide by 7 feet high, multiplying 12 by 10 by 7 generates 840 feet.

Multiply the result by 5 to get a radiator in dining and living rooms, 4 bedrooms for bedrooms, or 3 to kitchens and other regions of the home. For instance, multiplying the 840 feet from the bedroom by 3 produces 2,520.

If the room faces north, add 15 percent to the result. When it has doors, add 20 percent and if it has windows, then subtract 10 percent. For instance, since the bedroom to your radiator faces north, you add 15 percent to 2,520 to produce 2,898, that’s the number of BTUs or British Thermal Units your radiator must produce per hour to adequately heat the room.

Because most radiators’ specs list their heating capacity convert your BTU calculation to watts. Because BTUs are units of heat, the conversion is not exact and watts are units of electricity.

Divide the number of BTUs by 3.41. For instance, if you divide 2,898 BTUs by 3.41, the result is roughly 850 watts. You want an radiator to produce the 2,898 BTUs per hour desired by the foot room used in the instance.

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A watt is a unit of energy or electricity that the appliance or device uses. Fans and different appliances are definitely marked with many watts they have. Knowing a fan’s wattage could be important in areas where electricity prices are high, or when comparing the use of a ceiling fan with even box fans or central air. There is an easy method if the wattage of the fan isn’t marked, however.

Look at the label on your ceiling fan. It is going to show the amount, even if it doesn’t demonstrate the amount of wattage used. The location of the label can vary; although it’s usually on the outside of the enthusiast in a hidden place — like above a fan blade or from the light socket — it may be on the inside of the fan base, which attaches to the ceiling.

Find the amount of amps on the ceiling fan’s label. This could be as few as 0.5 to 0.9 for the ordinary enthusiast; the larger the engine, the more amps will be required.

Multiply the amount of amps recorded by 120, which is the number of volts of electricity. This amount should be recorded on the ceiling fan label. The formula of x volts equals the amount of watts used from the ceiling fan. For example, 0.5 x 120 = 60 watts; 0.9 x 120 = 108 watts. This wattage sum is how much electricity the ceiling fan uses at speed.

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Interior designer Diane Bergeron had some convincing to do with this project, a weekend home for a large family who uses the home year-round. The project architect had suggested a death by a comfy coastal home: a slick inside with a glass staircase and modern furnishings. “However, I told him ‘The conventional bones are. Why tear down them?'” She says. “It only made sense to work together with all the architectural bones of the home and move from there.”

Bergeron applied her layout knowledge of conventional American coastal homes throughout the project. “They enjoyed images of summer homes in the Hamptons and the warmth and airy feel of California coastal homes,” she says. “We opted for a soft, neutral base and layered on patterns and color.”

The clients turned off from what a lot of folks in those pieces are doing: “Lots of ultracontemporary houses with a glass-box structure that would have certainly carried into the interiors and furnishings,” Bergeron says. And did they enjoy the last outcome? “My clients are utilized to fine surroundings,” says the designer, “and they have a fantastic city home. But there were tears during the show. They’re only in love with this home.”

at a Glance
Who lives here: That really is a weekend home for Jack and Diane Gringlass and their 4 grown kids.
Location: Mornington Peninsula, Melbourne, Australia
Size: 5,488 square-foot
Design challenge: Changing a darkened, lodge-like country house in an airy and bright coastal home

Diane Bergeron Interiors

A photograph shot at sunset lets us see into the front-facing inside rooms of this home: three bedrooms, the analysis, a card room and a billiards room. Motorized Roman shades can be controlled with simplicity for privacy.

Diane Bergeron Interiors

John Himmel’s woven rope furniture adds warmth, warmth and texture into the living room. A vintage Lucite coffee table does not take attention away from the rich patterns of this window shades, carpeting and upholstery. Bergeron paired couture Quadrille China Seas cloth in the rope seats with a striped cotton dhurrie, which ties the distance together.

Flooring: stained European walnut; empire stools: Jonathan Adler; sofa: custom in camel linen, Diane Bergeron Interiors

Diane Bergeron Interiors

The designer loves the all-white walls and trusses. “The house used to be somewhat dim and cabin like, and you feel like the whole area is breathing, which is a quality I associate with California coastal homes or summer homes in the Hamptons,” she says. “I’m happy this comfy coastal style has found its way to Melbourne,” says Bergeron.

Sofa: custom in cotton twill, Diane Bergeron Interiors; facet table: vintage French; Roman blinds: custom, Diane Bergeron Interiors; pendant lighting: Ralph Lauren

Diane Bergeron Interiors

Windsor chairs create a surprise pairing with a Lucite table at the game room. Lulu DK wallpaper swathes the walls and continues into the backs of custom shelving units, giving the room a compatible flow.

Diane Bergeron Interiors

A rustic farmer’s table from Boyd Blue surrounded by Windsor seats adds warmth and contrasts with the all-white kitchen along with metallic sheen of those fittings and Ralph Lauren pendants.

Diane Bergeron Interiors

Bergeron turned into a mostly white and metallic powder room into a stone box with art deco Scalamandre wallpaper in Zanzibar Gold.

“If done correctly, layering on color and pattern may add a lot of verve to your home without being garish or too over the top,” says Bergeron.

Mirror: custom, Diane Bergeron Interiors

Diane Bergeron Interiors

Bergeron created a cozy space by mixing vintage fabrics and furnishings with new decor.

Diane Bergeron Interiors

Custom piled curtains and orange Roman shades dress up the most built-in bunk beds. An alpaca wool rug softens the sharp whites and stripes of their bunks’ window treatments. Underbed drawers maintain guests’ items tucked away.

Diane Bergeron Interiors

A home theatre hosts the entire family on film night, with custom reclining seats and both luxury chocolate brown picture walls. “A French artisan came and stitched all of the linen together by hand,” Bergeron says. “This was an amazing process to watch and actually adds this stunning, touchable caliber to the walls”

Diane Bergeron Interiors

Grass fabric wallpaper in sage covers the study walls and pays tribute to the customer’s love of green. A dark Roman color adds a masculine touch. “He loves this room,” she says. “It’s his little sanctuary within what is a relaxing weekend home.”

Background: Diane Bergeron Interiors; executive chair: vintage Eames; sofa: custom, Alan Campbell

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Rotundas are around buildings or rooms, sometimes with a domed roof. The word “rotunda” has its origins in the Latin word “rotonda,” meaning “around”; those structures became popular in medieval Central Europe. Curves in structure consistently require just angled cuts and additional materials and technology, so these major feats of structure were initially utilized in churches, libraries, government buildings, museums and halls as showpieces.

Siemasko + Verbridge

Rotundas have cylindrical walls and most commonly a domed roof. Dormers are bumped into the domed ceiling of the rotunda to let light in.

Deep River Partners

Cove lights circle the dome of the rotunda, and pin lights create a starry-sky effect.

Colleen Brett

A semicircular domed or vaulted space off a main structure of a building is known as an apse. Apses are seen in churches.

Christopher D. Marshall Architect

Although the ceiling is not domed, this room can nevertheless be thought of as a rotunda since the walls are somewhat cylindrical.

Neuhaus Design Architecture, P.C.

This rotunda has a metal domed roof that is comparable to an onion roof.

omnidome

These duplex homes wouldn’t be known as rotundas, since the walls aren’t cylindrical; they’re spherical.

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As I navigate through the thousands of photographs on , I tend to detect certain formal trends. One in the modernist vein is what I’m calling portals. These are exterior elements — walls, floors, roofs — which stretch past the exterior wall to create profound frames. The reasons for this saying are diverse, but they come down to a couple aims: framing a particular perspective, providing shade and cover or making a statement.

QUADRANTE Arquitectura

This portal site for this villa in Portugal serves as a patio in front of a louvered glass wall. The superminimal saying of the whole design means the portal reads as a dark rectangle among the white walls.

PAUL CREMOUX studio

This beach house in Mexico uses a portal site on the upper floor; the cantilevered volume produces a covered terrace under it.

PAUL CREMOUX studio

The notch that is cut to the side wall generates a panoramic view from the interior, rather than a more directional view that would arise from wholly solid walls.

Make Architecture

Here is a portal site that is inserted into an existing house as a portion of its redesign. The central place and its materials make it stand out.

Make Architecture

Up close we can observe that it serves the dining area. A sliding glass wall nicely extends this space to the exterior.

Make Architecture

From indoors, looking vertical to the portal, the timber walls seem to cut most of the way throughout the house, notched for passage and perspectives. The substance stands out indoors as well as outside, marking a significant area in the house.

DuChateau Floors

This example comprises two portals vertical to each other: a big, one small, every facing the pool.

DuChateau Floors

The little portal serves as the bedroom and can be perfectly matched with the water. The sides are solid, and the opening is totally transparent — a sliding glass wall bisected at the center.

DuChateau Floors

The huge portal (the length is big enough to require an extra column) serves the living area. A sliding glass wall unites the indoors and the patio overlooking the pool. 1 side comprising a fireplace is cut,.

DuChateau Floors

This shot shows the greatest appeal of eyeglasses in general: exterior spaces which are embracing, shaded and elastic. It’s simple to observe the patio utilized for dining and other uses.

More:
Daring Cantilevers: Architecture Takes Flight

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Contemporary furniture fans would be hard-pressed to come across a stronger and innovative set of 20th-century designers than Charles and Ray Eames. Although they were often believed to be brothersthey had been a husband-and-wife group, now best known for their iconic line of seats for Herman Miller, also experts on just about any kind of art form. “Charles wasn’t an architect trying to do architecture, or a furniture designer trying to make furniture,” says film producer Bill Jersey. “He Ray were two people who had been hoping to get us to see the world differently.”

When manufacturer Jason Cohn approached Jersey to help him produce a movie on Ray and Charles Eames, Jersey didn’t know much about the couple. “Charles Eames always said he didn’t sell his expertise to clients — he offered his ignorance,” states Jersey. “Exactly the same was true for me with all this particular movie.” As they learned about the few, they understood there was literature in their work, but very little on Charles and Ray as individuals.

Premiere: Eames: The Architect and The Painter aired Dec. 19, 2011 on American Masters. A DVD premiered Tues., Dec. 13, 2011

Interestingly, Cohn’s debut to Charles and Ray Eames was through their films, not their iconic furniture. While in film school, he was given a box set of the experimental movies. “They’re so odd and esoteric, I knew I had to find out more about them,” he states. “The pictures in these pictures stuck for quite a while.”

Film had always been a passion for both Ray and Charles, and they often experimented with films in their workplace. In 1968, they gained nationwide attention with their educational movie, Powers of Ten. Following that, they were quickly hired by the United States Government, IBM, and other large corporations for exhibitions and accompanying movies.

Eames: The Architect and the Painter is the first complete movie about Charles and Ray since their deaths, just 10 decades apart, in 1978 and 1988. “Film is more of a psychological realm than a sensible one,” says Cohn. “We believed it’d be the ideal medium to explore the Eames’s personalities.” “We didn’t necessarily want it to be informative,” states Jersey. “We wanted people to watch the movie and say’wow’.”

During the movie, the viewer is instantly drawn to the exceptional charm of the Eames — especially Charles, who is repeatedly described by former co-workers as charismatic. Despite the charisma that appeared to detract from them equally, there were still facets of their working life that triggered challenges, especially for Ray. A number of the people who they talked to nearly viewed Ray and Charles as saints — but Jersey and Cohn wished to paint a more exact image. “It’s not really a question of exactly what material you want to add, but in case you must,” states Jersey.

Jersey and Cohn invest a lot of time exploring the whimsical home Ray and Charles constructed for themselves in Pacific Palisades, Calif. (pictured), and their charming office at 901 Washington Boulevard in Venice Beach. The twosome created unique sets to their lives, installing massive pieces of artwork on the ceiling, inventing gigantic toys to put in their workplace, and always changing everything about. 1 former Eames employee clarifies their workplace as”Disneyland for adults”

Right off the bat, it is clear that Ray and Charles were compulsive, artistic people, and often assumed others were the same. “People we interviewed could talk about how Ray will be walking down the street and just begin shrieking in delight with an item she watched,” says Cohn. “She had a true childlike appreciation for life”

In life, Ray was often overshadowed by Charles, so the manufacturers made sure to provide Ray her fair share of credit in the movie. Jersey and Cohn agree that largely because of the biases of the era, Charles was the surface of the Eames Office. “But our study convinced us that the Eames Office would not have been the same without her,” says Cohn.

“I am not a design historian, aficionado, or furniture geek,” says Cohn. “But my biggest takeaway in terms of layout is the fact that it is not a shallow thing. It’s not a coating gloss you wear a item. When it is practiced correctly, it is about problem solving at a profound level.”

“For me, looking at furniture has been sort of like taking a look at the engine of a vehicle,” states Jersey. “I knew what all of the components did, but I didn’t care about how it was created. Today I can see all the small nuances and thoughts that enter it.”

There is a true comparison in the way that the Eames made their furniture and the way many mass-produced products are created now. Their furniture, films, and artwork were designed with love and created with morality and ethics in mind. “High-quality items and images and items can bring joy, especially when made by joyful people,” Cohn says. “Poor items made by unhappy people do not do that.”

All photographs: Copyright 2011 Eames Office LLC, courtesy of Larsen Associates

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Modern Icons: Eames Shell Chair
Modern Icon: Eames Molded Plywood Chair
Modern Icon: Eames Molded Plastic Rocker

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