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Tuscan Style Interior Decorating

tuscan style interior decorating
    interior decorating
  • Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment.
  • (interior decoration) decoration consisting of the layout and furnishings of a livable interior
  • Relating to or denoting a classical order of architecture resembling the Doric but lacking all ornamentation
  • a resident of Tuscany
  • Of or relating to Tuscany, its inhabitants, or the form of Italian spoken there, which is the standard variety taught to foreign learners
  • of or relating to or characteristic of Tuscany or its people
  • a dialect of Italian spoken in Tuscany (especially Florence)
  • A manner of doing something
  • A way of using language
  • make consistent with a certain fashion or style; "Style my hair"; "style the dress"
  • designate by an identifying term; "They styled their nation `The Confederate States'"
  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"
  • A way of painting, writing, composing, building, etc., characteristic of a particular period, place, person, or movement
tuscan style interior decorating - Tuscan Living
Tuscan Living (Mini Lifestyle Library series)
Tuscan Living (Mini Lifestyle Library series)
The design of the Tuscan house has remained virtually unchanged since the Middle Ages, when landowners built country retreats drawing on the natural resources of the region. Indeed, it is these materials that give the Tuscan house its unique character: stone and marble; hard woods, like chestnut, oak, and elm; terracotta and brick; and water, used in ponds, fountains, and pools. These elements are captured here in exquisite detail: thick stone interior walls; terracotta-tiled roofs and floors; sienna-hued stucco finishes and luminous frescoes; exposed wood beams and scrubbed oak dining tables; and sunny courtyard gardens with the all-important water feature, whether an ancient well or an exquisite pool. In this glorious collection of color images, Simon McBride artfully evokes the magic and pleasures of Tuscan living. Simon McBride has been photographing interiors and gardens for over two decades, working regularly for House & Garden and Architectural Digest.

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Interior, St. Agustin Church
Interior, St. Agustin Church
from heritageconversion.wordpress.com: Concealed behind the walled city of Intramuros, built by the Spaniards in 1570, is the church of San Agustin. This church is a significant monument to the Spanish colonization of the Philippines, being the first religious structure built in the island of Luzon, after the Spanish relocated from Cebu in the south. Built within the administrative center of the Spanish government, San Agustin church enjoyed privileges not commonly dispensed to most colonial churches. It was built by the Spaniard Juan Macias in 1586 and was completed in 1606. Luciano Oliver later renovated it in 1854. The book Great Churches of the Philippines points out that the church was designed “according to the plans approved by the Royal Audencia of Mexico and by a Royal Cedula.” Jesus Encinas, who wrote San Agustin Manila, states that the design of the church was derived from other churches that were built by the Augustinians in Mexico. Pedro Galende, OSA, in his book San Agustin Noble Stone Shrine, adds that the Augustinians “who came from Spain and those born in Mexico had a great opportunity to observe and study the South American monastic architecture which they later used in the Philippines. They took into consideration the quality of the local stone and the weather conditions which required them to sacrifice aesthetic requirement for durability.” This practical and banal approach to aesthetics is evident on the church’s facade. It may have been the most sought and copied facade in the colonial period, but its static appearance and dark adobe stone lack grace and charm. Even the Augustinians themselves were not too kind with the church’s displeasing appearance. In another book, Angels in Stone, Galende recalls the Augustinian historian, Agustin Ma. de Castro’s critical comment of the church’s facade: “It was of triangular form, very ugly and of a blackish color; flanked by two towers, one of which has no bells and does not serve for anything. Due to the frequent earthquakes in Manila, they (towers) have only one body, ugly and irregular, without elevation or gracefulness.” Sedate and direct to the point, the facade follows the style of High Renaissance. The symmetrical composition is prefixed by pairs of Tuscan columns that flank the main door of the two-tiered facade. The vertical movement of the paired columns is adapted at the second level by equally paired Corinthian columns. At the second level, mass and void alternate in a simple rhythm of solid walls and windows. The two levels, emphasized by horizontal cornices, are then capped by a pediment that is accentuated with a simple rose window. The facade’s hard composition is held together by two towers; unfortunately, the missing left belfry further exaggerates the lackluster facade. It was taken down after a destructive earthquake hit the church in 1863 and 1880, splitting the tower in two. The facade has a touch of Baroque by the ornately carved wooden doors that depict floras and religious images. Baroque is also evident in the carved niches that quietly reside between the paired lower columns. The church is bequeathed with Chinese elements in the form of fu dogs that emphatically guard the courtyard entrances. Alicia Coseteng, in Spanish Churches of the Philippines, describes the church as having “an inverted vaulting foundation, which reacts to seismic effects in much the same manner as the hull of a ship resists the waves.” Although this is difficult to prove, this may be one of the reasons why, amidst the destructive natural calamities that are prevalent in the country, the church is still standing today. Winand Klassen, in his book Architecture in the Philippines, also notes that the church has an inverted vault-like foundation, and was the first earthquake-proof building in stone. This makes San Agustin as the only surviving 16th century edifice, and the oldest church in the Philippines. Another interesting structural component of the church is the lateral bays that act as interior buttressing. This is completely different from all the colonial churches where the wall buttresses flare out at the exterior side of the church walls. Within each compartmentalized bay is a side chapel that Coseteng refers to as cryptocollateral chapel. Seven side chapels line the entire length of each side of the nave. San Agustin church is also the only colonial church that has retained its original vaulting, despite the destructive forces that shelled the church during WW II. It was a fortuitous turn because San Agustin church flaunts one of the most artistically decorated interiors among all of the colonial churches in the country. The splendid trompe l’oeil barrel vault and dome magnify the skills of two Italian decorative painters, Alberoni and Dibella, who were commissioned to paint the church’s interior in 1875. With a barren, plain surface, they managed to sculpt and gave life to the ceiling with their paint brushes. Alberoni and Dibella
August Wilson Theater
August Wilson Theater
ANTA Theater (originally Guild Theater, Virginia Theater), Midtown Manhattan, New York City, New York, United States of America DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The founding Guild markers, including actors, playwrights, designers, attorneys and bankers, farmed the Theater Guild to present high quality plays which they believed would be artistically superior to the currant offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the most up-to-date staging technology. Besides its historical importance as Broadway's major repertory theater, the ANTA is an exceptionally handsome theater building. Its exterior, designed by prominent theater architect C. Howard Crane with Kenneth Franzheim, drew inspiration from 15th-century Tuscan villas. Differing markedly from the Beaux-Arts influenced neo-classical styles of the majority of other theaters of the period, the theater building provoked as much admiration as the company' s planned operations. For half a century the ANTA Theater has served as home to countless numbers of the plays through which the Broadway theater has come to personify American theater. During most of its life, the theater has housed two special repertory companies, unique to Broadway. As such, the ANTA continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world. The Theater Guild, and the Guild Theater The Theater Guild was founded in 1919 by a group of theater enthusiasts who believed New York audiences, and perhaps eventually national audiences, would support by subscription a series of high standard productions untainted by commercial considerations. The six founding members of the Guild included actress Helen West ley; Theresa Helbum, who served as executive director; Philip Moeller, a director; Lee Simonson, a scenic designer; Lawrence Langner, a patent attorney and playwright; and Maurice Wertheim, a prominent banker. Four of the Guild's founding members, West ley, Moeller, Langner and Wertheim, had been previously associated with the Washington Square Players, a group of amateur performers who were committed to producing plays of artistic merit. Formed around 1914, the Washington Square Players had presented one-act plays, first at the Little Bandbox Theater on East 57th Street, and later at the larger Comedy Theater at 108 West 41st Street. The troup's last production was held in March 1918, after which it disbanded; the Theater Guild was formed the following year. The Theater Guild's first productions were staged at the Garrick Theater on West 35th Street, a snail house seating only 537 (demolished). The productions were supported by a body of devoted theater enthusiasts who purchased seats in advance for an entire season of plays performed by the Guild repertory. By 1923, however, with a membership totalling over 6,000, the Guild had outgrown its quarters at the Garrick. Its founders believed, moreover, that continual moving from theater to theater for each new production might strain the unity of the Guild and impede the development of ensemble acting. The possibility of having to lease theater space and share profits with the owner raised fears of compromising the Guild's artistic integrity. In 1923, therefore, the Theater Guild formed a building committee to raise funds for the construction of a new theater building. The committee was headed by Walter Prichard Eaton, and included among its members such prominent New Yorkers as Mrs. August Belmont, Otto H. Kahn, Walter Lippman, and Louis Untermeyer. The new theater would be characterized not by "gilt decoration and gimcrack ornaments," but instead by the latest in advanced technological methods. ^ The most eagerly awaited of these advances, "the real novelty in the matter of stage equipment, 1,4 was the cyclorama, a large piece of painted linen with backlighting which functioned as stage scenery to represent the day or night sky. Completed in 1925, to the designs of C. Howard Crane and Kenneth Franzheim, the Theater Guild's new Guild Theater opened with a production of George Bernard Shaw's Caesar and Cleopatra. The Guild flourished for nearly twenty years with high caliber drama productions performed by a rotating repertory cast. In 1943, however, as the war years slowly drained the national economy, the Guild recognized that its own rising production costs prevented profitable operation of its theater. With few alternatives available, it leased the building for five years to the Mutual Broadcasting System. The Guild continued to

tuscan style interior decorating
tuscan style interior decorating
California Wine Country: Interior Design, Architecture, and Style
The first book to celebrate Wine Country lifestyle and interiors, California Wine Country offers an intimate tour of the ease and elegance that prospers amidst the vineyards and lush hillsides of the California wine-growing regions. Best-selling style writer Diane Dorrans Saeks walks the personal, memorable, and inspiring homes and hideaways of more than twenty-five Wine Country homeowners -- including an apple orchardist, a painter, a chef, an architect, and a gardener -- as they enjoy the seasonal splendor of outdoor dining, vine-covered vistas, sun-dappled interiors, and the spectacular surroundings of a region where lifestyle marries landscape. One of the most popular travel destinations on the West Coast, the Sonoma-Napa countryside is esteemed for its natural beauty and casually luxurious way of life. Throughout the region, and from the Anderson Valley to the vineyards of Santa Barbara, uniquely decorated homes are treasured for their architecture, seclusion, and unparalleled setting. Saeks visits nearly thirty such houses, including a renovated farmhouse and barn; a rustic family home amidst a walnut orchard; and a dreamy lakeside "tent" home in Sonoma. With more than two hundred beautiful color photographs, California Wine Country brilliantly captures the spirit and flavor of the Wine Country way of life.

True to the sense of bounty and calm that the California wine regions convey, Diane Dorrans Saeks writes, "Wine Country life is private, peaceful, undisturbed. Rural bliss soothes the mind. The Wine Country encourages simple wonder and gratitude." The inhabitants of the idyllic properties presented in California Wine Country must feel grateful indeed. This unbelievably seductive book of heavenly hideaways is divided into five sections: "Classic," "Poetic," "Rustic," "Collectors," and "Weekends." The Santa Ynez, Russian River, and Alexander Valley regions are explored, as well as the more well-known Napa and Sonoma areas.
Saeks sought out creative people--artists and art dealers, designers, restaurateurs--whose houses range from a splendid Venetian villa near Calistoga to a 12-by-16-foot tent (furnished with antiques) on the edge of a peaceful Sonoma lake. The interiors are magazine-perfect (not a cell phone or fax machine in sight) and true to the prevailing architecture, whether angular and austere or funky adobe. There is a Mediterranean-inspired lusciousness in every photograph: grapes spill from the vines covering a patio, rambler roses cover a wooden gate, and doorways invariably open onto hillside vistas complete with blue sky. The directory at the book's end includes design and furnishings stores, as well as bookstores with good design sections, kitchen equipment stores, and restaurant, hotel, and winery recommendations.