Hotel Domus Garni

hotel domus garni
  • a building where travelers can pay for lodging and meals and other services
  • A code word representing the letter H, used in radio communication
  • An establishment providing accommodations, meals, and other services for travelers and tourists
  • A hotel is an establishment that provides paid lodging on a short-term basis. The provision of basic accommodation, in times past, consisting only of a room with a bed, a cupboard, a small table and a washstand has largely been replaced by rooms with modern facilities, including en-suite
  • In French contexts an hotel particulier is an urban "private house" of a grand sort. Whereas an ordinary maison was built as part of a row, sharing party walls with the houses on either side and directly fronting on a street, an hotel particulier was often free-standing, and by the eighteenth
  • Domus (genitive domus or domi) is the Latin term meaning house or home. In ancient Rome, these structures were occupied by the wealthy and middle class freedmen during the Republican and Imperial eras. They could be found in almost all the throughout the Roman territories.
  • Domus is the name of two magazines, one published in Italy and one in the United States.
  • A house which serves as the residence of a single, extended family
  • Garni (Armenian: ?????, also Romanized as Garrni; until 1936, Bash Gyarni) is a village in the Kotayk Province of Armenia, situated approximately 32 km southeast from Yerevan.
  • Gahr.knee\ Containing garnishes.
  • [gahr-NEE] The French word for "garnish" when used as an adjective describing a food. For example, "steak garni" usually means it`s accompanied by vegetables and potatoes.
hotel domus garni - Domus 1928-1999.
Domus 1928-1999. Vols. 1-12
Domus 1928-1999. Vols. 1-12
For over seventy-five years, domus has been hailed as the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect Gio Ponti, the magazine's central agenda has always remained that of creating a privileged insight toward identifying the style of a particular age, from Art Deco, Modern Movement, Functionalism and Postwar to Pop, Post-Modernism and Late Modern. Beautifully designed and comprehensively documented, page after page domus presents some of the most exciting design and architecture projects from around the world. TASCHEN's twelve-volume reprint features selected highlights from the years 1928 to 1999. Reproducing the pages as they originally appeared, each volume is packed with articles that bring to light the incredible history of modern design and architecture. A truly comprehensive lexicon of styles and movements, the volumes are accompanied by specially commissioned introductory texts that not only outline the history of the magazine but also describe what was happening in design and architecture during each era covered. These texts have been written by many of the magazine's renowned past editors: Mario Bellini, Fran?ois Burkhardt, Cesare Maria Casati, Stefano Casciani, Germano Celant, Manolo De Giorgi, Fulvio Irace, Vittorio Magnago Lampugnani, Alessandro Mendini, Lisa Licitra Ponti, Ettore Sottsass Jr., Luigi Spinelli, and Deyan Sudjic. The volumes have also been thoroughly indexed, allowing the reader easy access to key articles ?many of which have been translated into English for the first time. TASCHEN's domus collection is a major publishing achievement and an important must-have for all design and architectureteaching institutions, practicing architects, designers, collectors, students, and anyone who loves design. Wallpaper Magazine Best Book Award Wallpaper*, the most happening design and interiors magazine in the world today, has given TASCHEN's Domus collection a "Best Books" award. The panel of judges, which included Ron Arad, Jane Birkin, Naoto Fukasawa, Matteo di Montezemolo, Ian Schrager, and Viktor & Rolf, chose the Domus collection as one of the six best books for 2007. We can't think of a better endorsement!

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Domus Interlude
Domus Interlude
The sea, which Domus was especially afraid of since he had never learned to swim, was a balm to me. Domus could not relax into the coast as I could, would not even take his tie off at the coast and had to cover his head with his handkerchief, which made him look especially ridiculous and anti-coastal, as he also did because he refused to remove his shoes on the beach and thus had to skip and jerk his body around to avoid the surf; he presented the most absurd sight at the coast, so forlorn looking at times I almost felt sorry for him and his ridiculousness, except his forlornness and ridiculousness positively spoiled the coast for me and negated my coastal pleasure since the pleasure it gave me to see Domus so ridiculous and forlorn did not equal the pleasure of the coast itself, removed from all human meanness, even my own, and Domus’s special, patented brand of villainy.
Domus de Janas, (3240-2360 ca. a.C.) panoramica
Domus de Janas, (3240-2360 ca. a.C.) panoramica
Sardegna, Villaperuccio (CI), necropoli di Montessu a occhio credo non sia cambiato granche come scenario naturale dall'epoca in cui nelle rocce si scavavano le sepolture dette Domus de Janas o casa delle fate questo tanto, tanto tempo fa nel sito le sepolture si susseguono una dopo l'altra a testimonianza dell'importanza di questo sito sacro per la civilta prenuragica e per l'intera isola oggi a testimonianza della gloriosa civilta passata, nella fotografia si possono vedere varie tipologie di sepolture.

hotel domus garni
hotel domus garni
Domus, Volume 4, 1955-1959
1955-1959: International Affairs. The focus of this volume is the second half of the 1950s, an era of grand visions and increasing internationalization in architecture and design. The often playful and experimental ideas and designs of the first half of the decade became more and more set in a common style, in which the International style forms an alliance with the new organic forms of the postwar period - whereby the only common feature is the high quality of each particular design. The works documented here by architects and designers such as Oscar Niemeyer, Carlos Raul, Villanueva, Vittoriano Vigano, and Angelo Mangiarotti are representative of this development. Also featured are modern office machines by Olivetti, furniture design by Ray and Charles Eames, ceramic and lamp designs by Ettore Sottsass, the Herman Miller Showroom of Alexander Girard in San Francisco, and famous buildings like Le Corbusier's pilgrimage church in Ronchamp or Gio Ponti's Villa Arreaza in Caracas.