Home Design and Garden

Posts Tagged ‘Style’

 

Kitchens of this day are built with well-thought out planning and accurate designs. Each and apiece part of the room is prefabricated with foresight and care to accommodate all the new functions that kitchens are now called for. Hence, the furniture for such modern kitchens has to be chosen with the same goal in mind.  If the old kitchens included some storage space, cabinets, sink area and the cooking space, the modern kitchens have evolved a lot more. Each function in the kitchen is taken into consideration and thus suitable furniture is selected for apiece of them.

Some common pieces of furniture for modern kitchen are the kitchen cabinets, wine rack, kitchen islands, kitchen tops, a table, chairs, etc. The speciality of these items is that they are used for many more purposes than what they are meant for.  For example, the kitchen cabinets can be used to store not just cutlery and glassware but also flower cases and other antique pieces to make the kitchen aesthetically beautiful.  Kitchen islands can also be put with high chairs for an primeval morning coffee or a late night drink. It can also be used to place your laptop or net book so that you can continue your work while cooking.

When it comes to the design of modern kitchen furniture simplicity is the catchword. No elaborate chairs or tables or webbed cushions for a contemporary kitchen. Instead you find contrasting colours, straight lines and easy shapes. Even the decorating items are very less in such a kitchen. Similarly, there is only a single colour for the walls and a single contrasting colour for all the furniture.

Today, it is not apiece difficult to find furniture ideas for your kitchen. By browsing online you’ll find different articles and websites that deal with modern kitchens and their decorations. Some companies even wage live chats with professionals who can wage wonderful ideas that turn your old kitchen to a fully functional and organised kitchen.

 

ranjuse – About the Author:

To know more about modern kitchen furniture please log on to http://www.kubekitchens.ie/pg37-modern-kitchen.html

Source: http://www.articlesbase.com/kitchens-articles/modern-kitchen-furniture-amalgamation-of-style-and-functionality-2875716.html

Find more Modern Kitchens related articles.

Laminate is a affordable countertop option that is quite favourite in homes today. This man prefabricated material comes in a variety of styles and colors that can be overwhelming to homeowners. Just because there is a wide selection, however, does not mean you can't swiftly sort through them to find what will work ideal for you. Simply use these tips to find the pattern and color of laminate that will work ideal for your countertop.

Budget

Like anything in home improvement, prices for a laminate countertop will vary because of a variety of factors. So, the first thing you should do when you get to the store is eliminate the styles that will not fit into your budget. Like most countertop materials, laminate prices is typically calculated by price per square foot. So know how much you can spend per square foot to eliminate any confusion at the store.

Your Best Countertop

For most people, laminate is not their first choice in countertop material, but is instead a necessity because of cost. Since, laminate can be prefabricated to look like just about any kind of material, why not take advantage of that. If you were healthy to choose a countertop material, regardless of price, what would it be? If your answer is granite, look for a countertop that resembles granite. If it is butcher block, then look for a laminate countertop that looks like wood. Just because you can't afford a more costly material does not mean you can't enjoy the look of that same material.

Kitchen Style

Once you have narrowed down your laminate countertop style options based on price and overall look, find a style that will work well in your kitchen. Think about the style and colors in your kitchen and then envision your different laminate options in your kitchen. If possible, get a few different laminate samples to take home with you so you know exactly how a laminate will look. If a particular style does not work in your kitchen, then try to find something else that does. Even if you like the overall look of the laminate, if it does not look good in the room, then it is not a good option for you.

Laminate in HD?

If you have the money and are choosing a laminate countertop that looks like granite, go ahead and spring for high definition laminate. This laminate is textured and has varying finishes to make the laminate look more realistic. Though this type of laminate will not fool anyone into thinking it is real granite, it does have a much nicer look than the one dimensional laminate that is most frequently used.

As you can see, selecting a new laminate countertop does not have to be overwhelming. By simply using these easy tips, you should be healthy to narrow down your selection to find your perfect laminate countertop style. Now all you need to do is order your laminate and enjoy the new look it gives your kitchen!

Find more Granite Tops related articles from search form.

Filipino Style in Architecture: Is There Such A Thing?

      During my first years as an Interior Design student, histories and stories of the different periods of world art and structure fascinated and confused me at the same time. In the course of our study, we should be healthy to recognize the different motifs that refer the different stages and period styles. We should be familiar with the distinction between apiece style and how a certain period had developed, flourished and declined.

        Most of us tend to be swept by foreign designs we had seen and studied. When designing, we immediately resort to books and magazines showcasing designs of other countries to get ideas. One time, a professor in one of my design classes told us to come up with a design that is Filipino. Most of us came up with designs that used bamboo, wood, rattan, and other indigenous materials. Maybe it is because when Filipino design is the issue, we would see those materials in the design. Then during deliberation, we were asked, “Why did you use those materials? Are those the only things that define Filipino style? What prefabricated you think those signifies Filipino style? How about the spatial arrangement, the design elements, how would you state that it is Filipino?” These questions struck us. In our design deliberation, the reason most of us relied on was that those materials we used were the materials used in houses built during the primeval periods of Philippine civilization. But, come to think of it, how about now, and the time between that primeval periods and now?

        Philippines had struggled for centuries to establish its own indistinguishability especially in design and architecture. Unlike an isolated art in a museum, structure is experienced by everybody. It is “subject to social, political or cultural influences”. It reflects the values of the society. Architecture is a “living history” (Hellman 4). It is a witness to the incessantly changing society.

        In defining and explaining the architectural style, Lichauco said:

        …it is important to think about the origins…. The development of a style should be

    based on a transformation of the origin. This transformation takes into statement the

    properties of the materials to be used, the technical process that is to be applied and the

    function that the goal is to perform (III par.12).

Using this statement, tracing the evolution of the built environment and space in the Philippines from the pre-colonial to contemporary periods will establish the ground of this study.

        The pre-colonial period structure is defined by adaptation to the environment, to the natural setting. Synthesis and contradiction characterize the native structure during this time – “systematic clutter”, easy lifestyle but complex familial set-up. People used their means of living as basis in choosing the place to settle down. They adapt their built environment with the natural setting (Manahan 9).

        Then, for several hundred years, Philippines had been under foreign rule. This had caused major transformations in the socio-cultural aspects of the country. Colonizing countries that had inhabited the Philippines had left vestiges that prefabricated Filipino culture a mixture of different cultures (Noche, par.2).

     The begin of Philippine Architecture was defined using the native houses during pre-colonial period or the bahay kubo. Each region has its own version of bahay kubo but share common features like the thatch roof over an area raised above ground by posts or stilts. Predominantly, these huts are consists of two basic areas, the sleeping area or the private area where occupants change clothes and store their belongings, which is raised above the ground, and a kitchen which was either an extension of the roof of the sleeping area or a detached area built on the ground (Yap, 3.1). The sleeping area is sometimes termed also as the sala or the living room and served a multi-function depending on the time of the day.

            In the day time, when guests would be received, the sala would have a living

        room type setting. At meal time, a big plateau or a mat would be brought out where

        the family would gather for meals. At night, woven straw mats are ordered out and the

        mosquito nets would be hung and the room would be transformed into a bedroom

        (Lichauco, II par.3).

        The materials used for building are gathered from the natural environment. Nipa is used for the roof and sometimes as walls also, sawali or woven bamboo for the walls, and split bamboo or wood for the floor. These materials are tied to bamboo poles or wood frames. The space beneath the home served as storage or as a workshop, or as a place where pigs and poultry are tied or caged. The raised flooring of the home also granted air circulation and guards the occupants from floods, snakes, and insects (Noche, par.5). As easy as it is, a bahay kubo served a easy lifestyle of the people during that time.

        Since structure depicts the values and customs of the people, Filipino traits are reflected in the ways they define spaces. Filipinos are family-oriented. Here in this family is where other values also take root – respect and high regard for the elderly, spirituality, and hospitality among others (Mayo 7). An extended family setting is attributed to strong kinship among Filipino families. Group dwellings are also noticed during primeval periods. People build their houses near their relatives’ thus, creating a small community of their own. Furthermore, during primeval periods, people believe in spirits of nature. Rituals to appease the spirits are performed when constructing houses. They believed in countering the forces of nature that might bring calamities and disastrous effects like floods and earthquakes through offerings of animal blood to the deities of nature.

 Filipinos are stated to be fond of chatting and gossiping. They make it a point to communicate with other members of the household and their neighbors. A place for conversation is typical of a Filipino house. It can be a foyer or just a bench located at the entrance of the house. Integrating the outside environment with the inside is also noticeable by creating spaces that directly lead to an open area and by providing huge windows (Fajardo, I.par.22).

        Then the begin of the colonial period came. The more than three hundred years of Spanish colonization had tremendously affected the culture and lifestyle of the Filipinos. They bring with them new beliefs and ideologies. The most important of these is Christianity. People, from polytheists and nature-worshippers started to believe in One Supreme Being. These beliefs had been manifested in the way houses are built and towns are planned. Big churches, convents and fortifications are built. Families become affluent; they became “social people”. Houses are built using sturdier materials like stone and brick. These noble houses or the bahay na bato derived its form from the old bahay kubo in its spatial arrangement.

        Started as purely prefabricated of stone, a Spanish period home had evolved into a wood and masonry house. It is typically consists of two floors: the ground floor is prefabricated of stone or brick and the second floor was generally wood. There is only one entrance. There is an inner courtyard, usually a grand staircase leading to the second floor, a caida or vestibule or the antesala. The antesala is used to welcome guests and to hold informal meetings. The main living room or sala is enclosed and is only used to entertain special guests on special occasions. The bedrooms open into the caida and sala. Towards the rear of the home are the dining room and the kitchen. Sometimes, the kitchen is detached from the main home typical of the bahay kubo. There is also a dispensa or pantry adjoining the kitchen. Near these areas also are the bathroom and toilet. A terrace or azotea is an important area of the house, which usually located at the back. “It is where the family could enjoy the cool evening breezes” (Yap, 4.1). The principle of open ventilation and allowing natural air circulation seen in bahaykubo is retained. Windows are big, only this time instead of awning sawali or nipa windows, there are the sliding windows prefabricated of capiz. The use of capiz softens the immense and cold appearance of masonry.

        Religion also played a huge part in the spatial arrangement of the house. Filipinos became so ingrained with their establishment that they tend to collect things that has something to do with it. Statues of saints are collected and put in a niche inside the home that served as the altar. These collections of fear statues, examining politically, can be viewed as a position symbol, a way to show off the affluence of the family.

        Houses did not change immediately when the American period came. Space patterns are the same as the Spanish period houses. Then as time passes, permanent changes started to take root. Some of these are the supplying of toilet and bath adjoining bedrooms and the incorporation of the kitchen into the home which used to be separated from the main structure of the house. During this time also, new technologies started to came in. The introduction of the vehicle also started the building of garage (Yap, 5.1).

        The Spanish influence in structure is very much evident. When they gave up the Philippines to America, they left big structures prefabricated up of native masonry and timber. Examining the scene, it can be stated that Spanish influence centered on religion, as the church is the core of apiece town and everything radiates from it. This is not the case in the American rule. USA instigated the building of schools, hospitals and capitol buildings. It stands for America’s aim of “nation building” (Manahan 15-17). Shortly after, reinforced concrete was used in building. The result was “a hybrid of the old Spanish masonry technology with the application of a distinctive roof line, openness in fenestrations and the mediation of wood to soften the brutality of the artificial stone” (Manahan 17).

        The Asian occupation of the Philippines during 1942-1945 also initiated a change in architectural style. They emphasized the focus on indigenous features and materials. Even though this has not matured to be a recognized movement that time, it has brought new light to the value of “oriental culture” after the war (Manahan 38). The Asian likes empty space as an “affirmation of the Zen spirit of meditation and union with the infinite” (Sakili 45) as opposed to the Hindu’s belief that space evokes a sense of “multiplying and swarming forms leaving no area or space uncovered” (qtd by Sakili 45). An empty space is viewed as a sign of poverty by the Filipinos. Influenced by the Hindus, Filipinos is stated to have a fear of empty spaces or horror vacui. The abundance of decorative motifs expresses the festive, warmth and munificence of Filipinos. Accumulating objects that served as memorabilia depicts the Filipino’s being sentimental.

        There are also other factors that brought great influence on structure but are not usually mentioned. Before the Spanish period, trade and commerce with our neighboring Malay and Chinese brothers are existent. They brought in some of their beliefs and were absorbed by the Filipinos. They were skillful workers and artisans. They were the ones hired by the Spanish to build those stone houses.

        One of the remarkable influences of the Chinese in the Filipino structure and design is the belief in feng shui. It is the principle that the surroundings is composed of good and bad energies that affects the behavior of the people through the orientation of the house, the placement of the furniture and the composition of the elements of the house. Filipinos prefabricated this a basis of their apiece day living, thus, affecting the way their environment is built and arranged.

        Another important cultural influence is brought about by the Muslims. Their impact on Philippine structure and design are very much visible in the southern part of the country especially in Mindanao and Sulu. Islam is the center of the life of apiece Muslims. In order to comprehend their concept and use of space, one should approach the Islamic doctrines.

            In the arts, whether in architecture, painting, arabesque, calligraphy, ukkil carving,

        cloth or mat weaving, an inspired Muslim or non-Muslim artist who works under the

        tutelage of a Muslim ruler always seeks to create a state in which the transient and

        the temporal characters of material things are emphasized, and in which the vacuity

        of space of an goal is accentuated (Sakili 47).

Transfiguration of materials is done to take away the temporary and worldly characteristics of the materials and “draw the imagination away from human nature and towards the contemplation of the Divine” (Sakili 47). Patterns of elaborate coverings hide the basic structural materials. Mother-of-pearl inlays, intricate carvings and colorful paintings “transform wood and stone into a lace-like covering” (Sakili 47).

        Islam has become the belief of the 13 groups of Philippine Muslims – the Tausug, Maranao, Maguindanao, Yakan, Samal, Badjao, and seven other small groups found mainly in south and southwestern Mindanao and Palawan (Sakili 49).

        Approaching the study of the evolution of structure in the Philippines through its history gives us a glimpse not only of how space and structure look like in the primeval years but the transformation of the social behavior, the social structure and the acculturation of culture.

        19th century came. Filipino culture was very much tinted with things European. The philosophy of the Enlightenment became apparent and the exploration of the individual took off. This was supported by what Hume stated that “beauty is not calibre in the things themselves, but exist merely in the mind which contemplates, and apiece mind perceives a different beauty” (qtd. by Manahan 13). This thought led to free expression and multi-views of art and architecture.

        Manahan cited the four significant movements that greatly influenced contemporary Philippine architecture. First is King Phillip II’s Law of the Indies which says that a town should be planned with a plaza on the center and the principal street passes through the side and the secondary streets will follow a grid pattern. The church will be at the plaza as a symbol of dominance (Lico 24). This town planning during the Spanish period became the starting point of urban planning and design in the Philippines.

        An architectural expression known as the City Beautiful Movement of the Chicago School that emerged and influenced the first decades of the 20th century is the second. During this time, load-bearing steel frames are used in building. The known product of this school was Louis Sullivan. His follower, Frank Lloyd Wright influenced Filipino architects in his organic designs (Manahan 14).

        The begin of the American colonialism brought in a more civilized way of life. To replace the existing cultural structure, the Americans instituted a new sociopolitical system and were reached through structure and urban planning. Construction of bridges and roads started. New buildings were constructed. The Agency of Public Works was inaugurated that facilitated all construction works. The Ecole des Beaux Arts style of classical revival became dominant (Manahan 20). Neoclassicism was the official style of buildings which according to Lico served two philosophic functions:

            1) to attest to the greatness of a newly established American empire and endow

        the empire with a civilizing pedigree; and, 2) to create the semblance of democracy

        in a colonial social order (28).

Buildings that were prefabricated were seen as “ideal metaphors for power, colonial omnipresence, cultural supremacy, and democracy” (Lico 28).

        In order to execute the plans of creating an American tropical empire, justice H. Burnham was sent to analyze Manila and Baguio. Burnham was an suggest of City Beautiful Movement. He envisioned Manila to be a “city equal to the greatest of the Western world” (qtd. in Hines, 1972 by Lico 29). While Burnham devised the plans, William E. Parsons, his successor, designed and built the structures. Parsons, following Burnham’s advise to unite Philippine-Spanish archetypes with that of the America’s neoclassicism, created a hybrid colonial style.

            Parsons adapted the horizontality, stasis, and symmetry of the neoclassical style,

        with hints of California Mission Revival style, to the hot-humid tropical climate….

        Windows must extend to the floor and be shaded from the harsh tropical sun and

        sky’s glare, either by metal canopies or by arcades or colonnades. His plans

        contrived open spatial arrangements that granted for maximum cross-ventilation.

        One feature of native structure integrated with classically balanced masses of

        Parson’s neoclassic rendition was the use of capiz shells instead of glass for window

        panels, thus suffusing the interiors with a soft pearly light (Lico 31).

        As the Philippines gradually became Filipinized and looking forward for self-governance, World War II broke out. The effort for freedom from Asian occupation led to a big destruction of architectural structures. After the war, an immense reconstruction followed. USA stood as the benevolent benefactor by helping to rebuild the wounded nation. This time marked an era in architectural history as during this time, no architectural product was built. “For the first time in four hundred years, the Filipinos were free to reinterpret their identity.” (Lico 36)

        Another remarkable part of the history of structure was seen during the Marcos regime. A desire to revert to the past became apparent. There was a shift towards the vernacular characteristics of structure and reviving the colonial lifestyle, incorporating it in contemporary designs. New materials and technology are combined with the iconography of the vernacular. “This sentimental longing for the primeval is rooted in the notion that these archetypes are the true fountainheads of identity…” (Lico 69). Imelda Marcos provided a definition of the new Filipino structure as “rational rediscovery of traditional shapes, indigenous building materials, methods of construction and usage of space which have evidenced to be the most suitable to the climate, the culture, and the land” (qtd. in Manuel 1979 by Lico 70). Even though the Marcos state structure is viewed as full of political stain and stands for the imposing power of the regime, looking at Mrs. Marcos’ statement, I would state that she has a point. Identity can be established by tracing the roots of the present. Because only then that you can explain why you are what you are today.

        Having ordered out the path of our structure history, can we now state that there is really Filipino architecture? The numerous colonial influences that penetrated the Philippines’ culture created an structure style that is, even though hybrid, truly Filipino. It adapts to the Filipinos beliefs and ways of life. Architecture is never stagnant. It is shaped by society and at the same time shapes the society. It follows the changing of people, of generations. A good structure is appropriate to the society’s lifestyle, enhances the society’s interaction with the environment and helps in the development of a mortal holistically. In order to comprehend Philippine architecture, we should first learn about our cultural heritage, and relate it to the present in order to get a picture of the future. 

———————————————————————————-

Works Cited

Fajardo, Brenda V. “Pag-unawa sa Espasyong Pilipino.” Teorya ng Arkitektura:

     Kaisipan, Isyu at Diskurso. Compiled by Edson Roy G. Cabalfin. Quezon City: UP

     Diliman, 2000.

Hellman, Louis. “What is Architecture.” Teorya ng Arkitektura: Kaisipan, Isyu at

     Diskurso. Compiled by Edson Roy G. Cabalfin. Quezon City: UP Diliman, 2000.

Lichauco, justice A. “A Comparative Analysis of Western and Philippine Spatial

     Systems: Towards the Development of Philippine Architecture.” Teorya ng

     Arkitektura: Kaisipan, Isyu at Diskurso. Compiled by Edson Roy G. Cabalfin. Quezon

     City: UP Diliman, 2000.

Lico, Gerard Rey A. Edifice Complex: Power, Myth and Marcos Say Architecture.

     Quezon City: Ateneo de Manila University Press, 2003.

Manahan, Geronimo V. Philippine Architecture in the 20th  Century. Metro Manila:

     Kanlungan, Inc., 1994.

Mayo, Adelaida V. A Comparative Analysis of Residential Interior Space Utilization

     Among the Lower, Middle and Upper-class Filipino Families. Quezon City: Office of

     Research and Publications – UP Diliman, 1991.

Noche, Manuel D. C. “History of Architecture.” National Commission for Culture and

     the Arts. 18 Might 2006 //www.ncca.gov.ph/about_cultarts/comarticles.php?>

     artcl_Id=110>

Sakili, Abraham P. “The Muslim View of Space.” Teorya ng Arkitektura: Kaisipan, Isyu

     at Diskurso. Compiled by Edson Roy G. Cabalfin. Quezon City: UP Diliman, 2000.

Ubalde, Anatalio, ed. Filipino American Architecture, Design, and Planning Issues. USA:

     Flipside Press, 1996.

Yap, David Leonides T. “Transformation of Space in Philippine Traditional Houses:

     Studies in the Morphology of Space from Prehispanic to American Period.” Teorya ng

     Arkitektura: Kaisipan, Isyu at Diskurso. Quezon City: UP Diliman, 2000.

Find more Contemporary Kitchens related articles from search form.

As far as getting the actual home design you want, all it takes is to tinker around with it in your mind. Some people will come up with tons of ideas and assembling them in mind and eventually laying them out will become one of the most fulfilling things you can do.

It is not simple though. With lots of magazines and current design trends to select from, all of these will surely make a mortal bind them into one great home design that many will surely envy. Just don’t overdo it because your home might look too artistic to depict.

Choosing a real estate property is easy. It is really the payment part the becomes a pain for most people. In the initial stages, it might not be felt. But once the lending institutions begin debiting the dues, that is when all people will begin feeling the ill-effects of the investment that they have done.

Some condition their minds that this investment for the future. We all know that it takes a lot of kill to make dreams come true. In this case, just look at mortgages and payments as helping aids that have to be taken care of. Otherwise you lose both in the end.

Property investment can be a one shot deal for some. We all want that place where we can eventually retire and something that will surely be our one and last stop towards respite. But while many of us find them supposedly, we find ourselves checking out other properties as well considering new properties spaces being developed one after the other.

Read the rest of this entry »