Suspended Stone installations

Jul 012012
 

A series of cap­ti­vat­ing Sus­pended Stone Instal­la­tions by Korean artist Jae­hyo Lee.

The sim­plic­ity of these three-dimensional con­struc­tions of manip­u­lated nature belies the exten­sive work load that must have been involved in cre­at­ing this a wide arrange­ment of sus­pended stones.

Work­ing with dif­fer­ent mate­ri­als like stone, wood, steel and nails, the artist cre­ated his inter­pre­ta­tion of the world around us.  He man­aged to cap­ture the essence of each mate­r­ial in a series of inter­est­ing instal­la­tions. Nature-based, manip­u­lated by man; the instal­la­tion includes cylin­dri­cal and rounded shapes, arranged into tun­nel or ball-like com­po­si­tions fea­tur­ing stones hang­ing by threads from the ceil­ing and con­tour­ing these sur­pris­ing shapes.

Suspended Stone installations

Suspended Stone installations

 

Via Freshome

Enhanced by Zemanta

There’s much more to paint than just colour

Jun 112012
 

There’s so much more to paint than just colour.

Paint

Tex­ture plays an equally impor­tant role and can inject an air of move­ment and dimen­sion into a room. Paint com­pa­nies con­tinue to add to their reper­toire, keep­ing paint effects fresh, lively and rel­e­vant to our sur­round­ings. Thanks to the sci­ence of paint tech­nol­ogy, just about any fin­ish you can think of has its paint equiv­a­lent. Think of craggy cliffs and there’s a stone paint to re-create the look. If relax­ing in a French-style villa is more your style, lime­wash will do the trick. Han­ker­ing for the aged pati­nas of weather-worn cop­per and rusted iron? There’s a prod­uct to suit …

Suede
The warm, flat fin­ish of suede paint adds a sub­tle, ele­gant mood to inte­ri­ors. It works well when used in an entire room, and can cosy up spaces such as bed­rooms and lounge areas. The creamy tex­ture cre­ates a look sim­i­lar to suede leather, and the restrained glam­our of this paint is enhanced by soft light­ing. As it is porous, it needs to be sealed if used in a kitchen or bathroom.

Lime­wash
Lime­wash adds a French provin­cial feel when applied to raw wooden fur­ni­ture or pieces that have been stripped of wax and paint. It gives a vel­vety fin­ish yet isn’t as chalky as milk paint. So called because of its lime base, lime­wash works well on exte­rior sur­faces that are porous as it allows the under­ly­ing sur­face to breathe. It’s a centuries-old fin­ish that brings to mind Ital­ian, Span­ish and Mex­i­can houses.

Cement
Cement paint gives a rus­tic, matt fin­ish that is best left for out­doors. Sold in pow­der form, it is mixed with water before being brushed onto porous sur­faces like unglazed brick, con­crete, plas­ter­board, Besser brick and masonry. How­ever, it’s not suit­able for tim­ber or metal sur­faces. Cement paint is durable – if well applied, it can last around 20 years.

Milk
This ancient paint effect results in a chalky, matt fin­ish and is best used on wood. Usu­ally made from milk pro­tein, lime and pig­ments, and sold as pow­der, it is mixed with water for appli­ca­tion. Milk paint is long-lasting and durable, but as it is flat and coarse, it marks eas­ily. So for pieces that will be han­dled fre­quently, the key is to either wax or seal them. Milk paint’s vis­cos­ity can be con­trolled by adjust­ing the amount of water added.

Metal­lic
Paints with a metal­lic effect are light-reflective, so will help bounce light around a room. Most metallics are a satin paint and many con­tain real metal­lic par­ti­cles. The best way to apply metal­lic paint is using a roller – brush­strokes will not only be vis­i­ble, but obvi­ous. If you’re after a luxe look in a bed­room, a metal­lic fea­ture wall may suit.

Stone
Due to the addi­tion of actual sand or fine par­ti­cles, stone paints can range from the look of worn, smooth stone to the more com­mon rough, grainy fin­ishes. While stone paint can be used for inte­ri­ors, be wary of using it in areas that your skin may brush up against – it can have the tex­ture of an emery board. Used out­side, stone paints add dimen­sion to oth­er­wise flat sur­faces like plasterboard.

Pearl
Pearl fin­ishes offer a soft lus­tre as they absorb yet reflect light. A lit­tle goes a long way when it comes to impact, so use as a high­light, such as a fea­ture wall, rather than on every wall of a room. A bed­head fin­ished in pearl paint would add a sub­tle shim­mer to a room, as would coat­ing photo, mir­ror or pic­ture frames, a tim­ber chair or cup­board doors.

http://www.homelife.com.au/

 

Enhanced by Zemanta

Concrete, Steel, Wood and Stone

Oct 062011
 

I’ve always loved the com­bi­na­tion of con­crete, steel and wood in architecture.  With the build­ing of our own home the project team thought me quite ‘loony’ for want­ing the nat­ural con­crete to stay with­out paint.  I just loved the rich nat­ural colour and tex­ture so much!  The colour of the con­crete in this house is the exact shade which reminded me so much of that look and feel.  In the end I got at least one dou­ble vol­ume fea­ture wall.  The house fea­tured below proves my point and, believe me, for our next house I will def­i­nitely build my case with the help of the beau­ti­ful pic­tures!  I absolutely love the way the archi­tects man­aged to frame the views and the com­bi­na­tion of all the nat­ural ele­ments are striking.

Wash­ing­ton Park Res­i­dence in Seat­tle, Wash­ing­ton, exhibits a fas­ci­nat­ing facade made of thick and ther­mally insu­lated con­crete walls. These walls are “lay­ered and mod­u­lated to offer care­fully framed views from west-facing rooms, add depth and shadow to the facade, and orches­trate the entry sequence through the court­yard to the front door.” Sul­li­van Conard Archi­tects made sure that the house over­look­ing Lake Wash­ing­ton and the Cas­cades cap­tured exten­sive views with­out inter­fer­ing with the much-needed privacy.

Source: freshome.com via Irma on Pin­ter­est

Related arti­cles

Spectacular Downtown City Views

Sep 262011
 

Located on the Sun­set Strip in Los Ange­les, this 7,000 square foot house by McClean Design, is divided in half by water fea­tures and a pool, and offers scenic views from West LA to Santa Mon­ica to the Catalina Islands.

With a lay­out cre­ated to max­i­mize access to the views, the water begins at the dri­ve­way with a water wall wrapped around the entry sequence. At the main level an orna­men­tal pool descends into the spa below and becomes a 75-foot-long lap pool which runs over the slope and into the view. The entry to the house is a glass bridge over a pool below. Con­crete, wood and stone were used to cre­ate a soft, con­tem­po­rary look.

Related arti­cles
358AB1E45156C52D81BAE579E952FBD1