RECEPTION HALL DECORATION IDEAS - RECEPTION HALL

Reception Hall Decoration Ideas - Rustic Christmas Decorations - Decorative Wall Plaque.

Reception Hall Decoration Ideas


reception hall decoration ideas
    reception hall
  • a large room for gatherings or parties.
  • The Reception Hall at the Harbourview Funeral Centre currently seats 150 people and is currently being expanded to accommodate up to 300 people. Food for the receptions is served buffet style. The dining atmosphere is enhanced by a slideshow tribute to the deceased on a large Plasma TV upon request.
    decoration
  • A thing that serves as an ornament
  • Ornamentation
  • The process or art of decorating or adorning something
  • the act of decorating something (in the hope of making it more attractive)
  • something used to beautify
  • an award for winning a championship or commemorating some other event
    ideas
  • (idea) the content of cognition; the main thing you are thinking about; "it was not a good idea"; "the thought never entered my mind"
  • A concept or mental impression
  • An opinion or belief
  • (idea) a personal view; "he has an idea that we don't like him"
  • (idea) mind: your intention; what you intend to do; "he had in mind to see his old teacher"; "the idea of the game is to capture all the pieces"
  • A thought or suggestion as to a possible course of action
reception hall decoration ideas - Wallmonkeys Peel
Wallmonkeys Peel and Stick Wall Graphic - Hotel Hall - 24"H x 20"W
Wallmonkeys Peel and Stick Wall Graphic - Hotel Hall - 24"H x 20"W
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Groninger Museum
Groninger Museum
GRONINGER MUSEUM Groningen the Netherlands The realisation of the present-day Groninger Museum had a lengthy and intensive history before a start was actually made on the spectacular design that still evokes much discussion on modern museum architecture. After years of formulating plans and drawing up sketches, after endless discussions and consultations, the ultimate design by the Italian Alessandro Mendini and the three guest architects Philippe Starck, Michele de Lucchi, and Coop Himmelb[l]au was completed in 1994. HISTORY IMPULSE The direct opportunity for this large-scale building project arrived on 28 September 1987 when the N.V. Nederlandse Gas Unie donated 25 million guilders (approx. 11.5 million Euro) for the construction of a new Groninger Museum. This was a godsend to the Museum. The old premises on the Praediniussingel, which had accommodated the Groningen Museum for exactly 100 years, had become far too small. The donation, to celebrate the 25th anniversary of the Gas Company (in 1988), was greeted with delight. This was the beginning of a project that would last 7 years and would finally be rounded off with the opening of the new Groningen Museum by Queen Beatrix on 29 October 1994. LOCATION Having examined all kinds of possible locations, a preparatory committee finally decided in favour of the ‘Zwaaikom’, a broader part of the Verbindings Canal on the southern edge of the inner city. It is a historical location, adjoining the stately 19th-century avenues with the mansions that were built on the site of the old city fortifications. The Verbindings Canal, linking other waterways as the name suggests, occupies the place where the city moat once lay. The main railway station and a ribbon of office blocks dating from the last few decades line the other side of the water. It is a unique location, connecting the station area to the inner city. Mendini The decision to appoint Alessandro Mendini, an Italian designer/architect whose work also appears in the Groningen Museum collection, was taken almost immediately. The spirit of the 1980s, a period that is strongly represented in the collection of Modern Art, radiates from his work. With regard to the new building, his vision and working method found a perfect match in the ideas of Frans Haks, the erstwhile Director of the Museum. There was one element in particular that was certain: it had to be an extraordinary building, both inviting and accessible – the Museum’s visiting card. Mendini, born in 1931, is a versatile man. Besides being an architect, he is also a designer, artist, theorist, and poet. In 1988, the Groninger Museum presented a large-scale retrospective of his activities in which his multifaceted artistry was expressed. Mendini also publishes a great deal, writing columns in international magazines, thus reinforcing his reputation as a theorist of new design. STARTING POINTS In 1987, the point of departure for the new Museum was the nature and the character of the various collections that constitute the Groninger Museum: Archaeology and History of Groningen; Applied Art, with the collection of Chinese and Japanese porcelain as an important subcollection; Traditional Painting (from approx. 1500 to 1950); and Modern Art (from 1950 until the present). These four completely different collections form the identity of the Museum and, as such, should all be visible in the building, each in its own domain. At the same time, the new building had to be a archetype of developments in art and architecture in the 1980s. As a result, initiating a co-operative effort by various architects and/or designers seemed to be a logical step, so that diverse perspectives could be combined and the separate collections could be appropriately expressed. DEMANDS AND DESIRES Mendini was bound by a number of demands from the Municipality. A direct link between the station and the inner city (a bridge for pedestrians and cyclists) had to be included in the design, inland shipping had to be able to pass through the canal, and one had to be able to see the one shore from the other (the so-called ‘transparency’ of the design). Taking these requirements into account, there followed a lengthy planning process in which all kinds of ideas and designs were investigated. The definitive design was approved in November 1990. However, due to an appeal to the Council of State lodged by opponents of the Groninger Museum, it took until April 1992 before construction could actually begin. MENDINI’S PHILOSOPHY DESIGN To what principles does Mendini adhere in this kind of design? He believes that the use of decoration is deeply rooted in humankind and, accordingly, decoration must be the starting point of design. Functionalists dismiss decoration because it draws attention away from the true issue, the function of the building. Their work is sober, with full attention being given to the efficiency of the design. This leads to impersonal mass production, according to opponents.
Ukrainian Parliament
Ukrainian Parliament
The building of Verkhovna Rada of Ukraine (built in1936-39) is situated on Hrushevskoho Str. in Kyiv, Ukraine. This building is of particular interest since it is a sitting place of the Ukrainian Parliament, which was built originally as a place for sittings of the former Central Committee of the Communist Party of Ukraine. However, over time the importance of this building for Ukraine increased. Its address is 5 Hrushevskoho Str., its location is on the corner of Hrushevskoho Str. and a square in front of the Parliament in the neighborhood of Mariinskiy Palace. Before there were no buildings on the current place of Parliament. There was a park there. The necessity to construct a building for the central executive governmental institution of Soviet Ukraine appeared after the capital of Soviet Ukraine was transferred from Kharkiv to Kyiv. On January 1936 a closed contest for the best project for the building was announced. The then leading architects submitted the designs for this project: Zabolotnyi, Hrihoriyev, Rykov, and Shteinberg. The project of architect Zabolotnyi was recognized to be the best. Young architects were also invited to participate in the design during the building process. In August 1936 the erection of the building started and in May 1939 the sitting of the just elected Rada of Soviet Ukraine commenced. In 1945-47 and in 1985 reconstruction work took place. The difficulty of creating of the design was due to the uniqueness of the building and the proximity of the neighborhood of the building of the Rada of Ministers of Soviet Ukraine and the neighborhood of the former Czar's palace. The three-storied, rectangle-shaped building is characterized by the wide area it occupies. The building is made in a conventionalized Corinthian style, which is based on the short stylobate. On the upper part of the building made in Corinth style there is an entablature with a short stylobate, which surrounds a flat roof, which was a new idea at the time of the erection of the building. There is a glass dome above the sitting hall (overhead cover made of iron and ferro-concrete, natural and artificial materials) with the state Ukrainian flag at the top. At first, when Ukraine proclaimed Independence, the Ukrainian flag was put up on the roof of the mayor's office and only later the flag was put on the roof of the Parliament. That was a very proud moment for Ukraine. There are 6 columns with risalites on both sides of the facade. Initially Zabolotnyi put just the foundation for the statues. The statues were put later by the architect Zoba (originally this was Zabolotnyi's idea) during the last years of Soviet rule, during the reconstruction in 1985 that was directed by architect Khmutina. Granite steps lead to the three doors of the main entrance. Initially it was just a square building and later an additional half-circle building was attached to the main building. The 8-angled sitting hall is located in the center of the building (the hall has 1,300 seats and occupies an area of 650 cubic meters). It's on the second floor. There are lights with lampshades and there is a glass dome, which provides the hall with natural light. It was a good idea to have the big chandelier in the sitting hall in the shape of sunflower because it characterizes the traditional folk Ukrainian arts. The building was built just for the purposes of a sitting hall but later its meaning grew and Parliament occupied more area. In 1945-1947 according to the project of the reconstruction to the building a semi-circle building was constructed and attached to the main building. At the same time the dome was moved up by one meter. At the beginning of 1960s the whole building was covered by special plaster done by Ukrainian specialists from Transcarpathian area. Initially an underpass was built between the Parliament building itself and the building across Hrushevskoho Street where all official receptions take place. Just after WWII there was a museum of Partisans there. Later the building belonged to the Parliament. There are some articles in the mass media now that tell about a project to reconstruct Mariinskiy Palace by 2004 and to turn it into the residence of the President of Ukraine like the White House in Washington, DC. Presently construction of a winter garden in the semi-circle building is being planned. Supposedly this was planned originally during the construction of the semi-circle building. Now in the building of the Parliament in the hall there are panels with the images of deputies of the first convocation of the parliament of Independent Ukraine: Leonid Kravchuk, Vyacheslav Chornovil, Laryssa Skorik.... During the years of Independent Ukraine a Soviet coat of arms was replaced with the Ukrainian coat of arms, which was made by specialists from Western Ukraine. Thus, now it's a small coat of arms and the Parliament is supposed to adopt a big one. So, supposedly a coat of arms will be moved one more time. Still t

reception hall decoration ideas
reception hall decoration ideas
March 17Th, 1876: Celebration of the Centennial Anniversary of the Evacuation of Boston by the British Army, March 17Th, 1776. Reception of the ... Hall, and a Chronicle of the Siege of Boston
This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

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