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Offers furniture restoration with a product or service that delivers white furniture and buy furniture. Alvar Aalto Eero Aarnio Robert Adam Thomas Affleck Jean Avisse Maarten Baas Fred Baier Milo Baughman Peter Behrens Mario Bellini Harry Bertoia Mario Botta André Charles Boulle Matthew Boulton Marcel Breuer Jeremy Broun Achille Castiglioni William Chambers Aaron Chapin Eliphalet Chapin Pierre Chareau Wai Yin Crystal Cheung Thomas Chippendale Thomas Chippendale, the younger Giovanni Cipriani Antonio Citterio Nigel Coates Joe Colombo David Colwell Henry Copland COR3 Creative Works Le Corbusier Paul N Cunningham Ilan Dei Niels Diffrient Nanna Ditzel Pines are native to most of the Northern Hemisphere. In Eurasia, they range from the Canary Islands and Scotland east to the Russian Far East, and the Philippines, north to just over 70°N in Norway (Scots Pine) and eastern Siberia (Siberian Dwarf Pine), and south to northernmost Africa, the Himalaya and Southeast Asia, with one species (Sumatran Pine) just crossing the Equator in Sumatra to 2°S. In North America, they range from 66°N in Canada (Jack Pine) south to 12°N in Nicaragua (Caribbean Pine). The highest diversity in the genus occurs in Mexico and California. Pines have been introduced in subtropical and temperate portions of the Southern Hemisphere, including Chile, Brazil, South Africa, Australia, and New Zealand, where they are grown widely as a source of timber, and some species are becoming invasive. [edit] Morphology Juvenile (left) and adult foliage of Stone Pine (Pinus pinea), showing the dark brown scale leaves and needle leaves on an adult shootPines are evergreen and resinous trees (rarely shrubs) growing to 3–80 m tall, with the majority of species reaching between 15-45 m tall. The smallest are Siberian Dwarf Pine and Potosi Pinyon, and the tallest, Sugar Pine. Pines are long-lived, typically reaching ages of 100–1,000 years, some even more. The longest-lived is the Great Basin Bristlecone Pine Pinus longaeva, one individual of which at 4,840 years old in 2008 is the oldest living organism in the world. The bark of most pines is thick and scaly, but some species have thin, flaking bark. The branches are produced in regular "pseudowhorls", actually a very tight spiral but appearing like a ring of branches arising from the same point. Many pines are uninodal, producing just one such whorl of branches each year, from buds at the tip of the year's new shoot, but others are multinodal, producing two or more whorls of branches per year. The spiral growth of branches, needles and cone scales are arranged in Fibonacci number ratios. The new spring shoots are sometimes called "candles"; they are covered in brown or whitish bud scales and point upward at first, then later turn green and spread outward. These "candles" offer foresters a means to evaluate fertility of the soil and vigour of the trees. [edit] Foliage Pines have four types of leaves: Seed leaves (cotyledons) on seedlings, borne in a whorl of 4-24. Juvenile leaves, which follow immediately on seedlings and young plants, 2-6 cm long, single, green or often blue-green, and arranged spirally on the shoot. These are produced for six months to five years, rarely longer (and also produced later in life after injury in some pines). Scale leaves, similar to bud scales, small, brown and non-photosynthetic, and arranged spirally like the juvenile leaves. Needles, the adult leaves, which are green (photosynthetic), bundled in clusters (fascicles) of (1-) 2-5 (-6) needles together, each fascicle produced from a small bud on a dwarf shoot in the axil of a scale leaf. These bud scales often remain on the fascicle as a basal sheath. The needles persist for 1.5-40 years, depending on species. If a shoot is damaged (e.g. eaten by an animal), the needle fascicles just below the damage will generate a bud which can then replace the lost growth. [edit] Cones Loblolly Pine (Pinus taeda): male cones A fully mature Monterey Pine cone on the forest floor.Pines are mostly monoecious, having the male and female cones on the same tree, though a few species are sub-dioecious with individuals predominantly, but not wholly, single-sex. The male cones are small, typically 1-5 cm long, and only present for a short period (usually in spring, though autumn in a few pines), falling as soon as they have shed their pollen. The female cones take 1.5-3 years (depending on species) to mature after pollination, with actual fertilization delayed one year. At maturity the cones are 3-60 cm long. Each cone has numerous spirally arranged scales, with two seeds on each fertile scale; the scales at the base and tip of the cone are small and sterile, without seeds. The seeds are mostly small and winged, and are anemophilous (wind-dispersed), but some are larger and have only a vestigial wing, and are bird-dispersed (see below). At maturity, the cones usually open to release the seeds, but in some of the bird-dispersed species (e.g. Whitebark Pine), the seeds are only released by the bird breaking the cones open. In others, the fire climax pines (e.g. Monterey Pine, Pond Pine), the seeds are stored in closed ("serotinous") cones for many years until a forest fire kills the parent tree; the cones are also opened by the heat and the stored seeds are then released in huge numbers to re-populate the burnt ground. Tom Dixon Before the advent of industrial design cabinet makers were responsible for the conception and the production of any piece of furniture. In the last half of the 18th century, cabinet makers such as Thomas Sheraton, Thomas Chippendale and George Hepplewhite also published books of furniture forms. These books were compendiums of their designs and those of other cabinet makers. With the industrial revolution and the application of steam (through rod and belt devices) and electrical power to cabinet making tools, mass production techniques were gradually applied to nearly all aspects of cabinet making, and the traditional cabinet shop ceased to be the main source of furniture, domestic or commercial. In parallel to this evolution there came a growing demand by the rising middle class in most industrialised countries for finely made furniture. This eventually resulted in a growth in the total number of traditional cabinet makers. The arts and craft movement which started in the United Kingdom in the middle of the 19th century spurred a market for traditional cabinet making, and other craft goods. It rapidly spread to the United States and to all the countries in the British empire. This movement exemplified the reaction to the eclectic historicism of the Victorian era and to the 'soulless' machine-made production which was starting to become widespread. After World War II woodworking became a popular hobby among the middle classes. The more serious and skilled amateurs in this field now turn out pieces of furniture which rival the work of professional cabinet makers. Together, their work now represents but a small percentage of furniture production in any industrial country, but their numbers are vastly greater than those of their counterparts in the 18th century and before. [edit] Types of cabinetry Ray and Charles Eames Charles Eastlake Harvey Ellis William Farrell Jr Pierre François Léonard Fontaine Norman Foster, Baron Foster of Thames Bank Frank O. Gehry Peter Ghyczy T. H. Robsjohn-Gibbings Grinling Gibbons Ernest Gimson Eileen Gray Greene and Greene Hector Guimard Ambrose Heal George Hepplewhite Matthew Hilton Josef Hoffman Thomas Hope William Ince Arne Jacobsen Inigo Jones Angela Kauffmann William Kent Poul Kjærholm Florence Knoll Silas Kopf Shiro Kuramata James Krenov L - Z Charles-Honoré Lannuier Paul Laszlo Erwine and Estelle Laverne Mathias Locke Max Longin Samuel Loomis Aldolf Loos John Loudon Ross Lovegrove Fred Lowen Andrzej Loza Michele de Lucchi Charles Rennie Mackintosh Vico Magistretti John Makepeace Sam Maloof Daniel Marot Bruno Mathson Jayme Mazzochi Séan McCurdy Clement Meadmore Alessandro Mendini Herman Miller Carlo Mollino William Morris Jasper Morrison George Nelson Marc Newson Isamu Noguchi Jean Francis Oeben (also Jean-François Oeben) Verner Panton Pierre Paulin Charlotte Perriand Jorge Pensi Charles Percier Gaitano Pesce Alan Peters Duncan Phyfe Giancarlo Piretti Jean Prouvé Dieter Rams Lilly Reich Jean Henri Riesener Gerrit Rietveld Ludwig Mies van der Rohe Alexander Roux David Rowland Eero Saarinen Rolf Sachs David Savage Sergio Savarese George Seddon Maarten van Severen Thomas Shearer Thomas Sheraton Borek Šípek George Smith Ettore Sottsass Mart Stam Philippe Starck Gustav Stickley Bill Stumpf George Summers Sympson Roy Tam John Townsend Patricia Urquiola Ludwig Mies van der Rohe Henry van de Velde Offers furniture restoration with a product or service that delivers white furniture and buy furniture.

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This is simply amazing. Offers furniture restoration with a product or service that delivers white furniture and buy furniture. A cabinet may be built-in or free-standing. A built-in cabinet is usually custom made for a particular situation and it is fixed into position, on a floor, against a wall, or framed in an opening. For example modern kitchens are examples of built-in cabinetry. Free-standing cabinets are more commonly available as off-the-shelf items and can be moved from place to place if required. Cabinets may be wall hung or suspended from the ceiling. Cabinets may have a face frame or may be of frameless construction (also known as European or euro-style). Modern cabinetry is often frameless and is typically constructed from man-made sheet materials, such as plywood, chipboard or MDF. The visible surfaces of these materials are usually clad in a timber veneer, plastic laminate, or other material. They may also be painted. [edit] Cabinet components [edit] Bases Enclosed cabinet base with a kick space Scrolled base Bracket feetCabinets which rest on the floor are supported by some sort of a base. This base could be a fully enclosed base (i.e. a plinth), a scrolled based, bracket feet or it could be a set of legs. Kitchen cabinets, or any cabinet generally at which a person may stand, usually have a fully enclosed base in which the front edge has been set back 75mm or so to provide room for toes, known as the kick space. A scrolled base is similar to the fully enclosed base but it has areas of the base material removed, often with a decorative pattern, leaving feet on which the cabinet stands. Bracket feet are separate feet, usually attached in each corner and occasionally for larger pieces in the middle of the cabinet. [edit] Compartments A cabinet usually has at least one compartment. Compartments may be open, as in open shelving; they may be enclosed by one or more doors; or they may contain one or more drawers. Some cabinets contain secret compartments, access to which is generally not obvious. Modern cabinets employ many more complicated means (relative to a simple shelf) of making browsing lower cabinets more efficient and comfortable. Such means include (names may be heavily colloquialised): The lazy susan, a shelf which rotates around a central axis, allowing items stored at the back of the cabinet to be brought to the front by rotating the shelf. These are usually used in corner cabinets, which are larger and deeper and have a greater "dead space" at the back than other cabinets. [edit] Tops Most cabinets incorporate a top of some sort. In many cases, the top is merely to enclose the compartments within and serves no other purpose - as in a wall hung cupboard for example. In other cabinets, the top also serves as a work surface - a kitchen countertop for example. [edit] See also Cabinet (furniture) List of furniture designers Woodworking [edit] External links Custom vs. Factory Cabinets Video Short History of Cabinets Cabinet Makers Association [edit] References Ernest Joyce (1970). Encyclopedia of Furniture Making. Revised and expanded by Alan Peters (1987). Sterling Publishing. ISBN 0-8069-6440-5 (Original edition), ISBN 0-8069-7142-8 (Paperback) ranged as to conduce to a sentiment of grandeur, the qualities of "power" and "truth," which its enormous extent must have necessarily ensured, could have scarcely fail to excite admiration, and that at a very considerable saving of expense. Contacts with other cultures through colonialism and the new discoveries of archaeology expanded the repertory of ornament available to revivalists. After about 1880, photography made details of ornament even more widely available than prints had done. [edit] Modern ornament Modern architecture, conceived of as the elimination of ornament in favor of purely functional structures, left architects the problem of how to properly adorn modern structures.[4] There were two available routes from this perceived crisis. One was to attempt to devise an ornamental vocabulary that was new and essentially contemporary. This was the route taken by architects like Louis Sullivan and his pupil Frank Lloyd Wright, or by the unique Antoni Gaudí. Art Nouveau, for all its excesses, was a conscious effort to evolve such a "natural" vocabulary of ornament. A more radical route abandoned the use of ornament altogether, as in some designs for objects by Christopher Dresser. At the time, such unornamented objects could have been found in many unpretending workaday items of industrial design, ceramics produced at the Arabia manufactory in Finland, for instance, or the glass insulators of electric lines. This latter approach was described by architect Adolf Loos in his 1908 manifesto, translated into English in 1913 and polemically titled Ornament and Crime, in which he declared that lack of decoration is the sign of an advanced society. His argument was that ornament is economically inefficient and "morally degenerate", and that reducing ornament was a sign of progress. Modernists were eager to point to American architect Louis Sullivan as their godfather in the cause of aesthetic simplification, dismissing the knots of intricately patterned ornament that articulated the skin of his structures. With the work of Le Corbusier and the Bauhaus through the 1920s and 1930s, lack of decorative detail became a hallmark of modern architecture and equated with the moral virtues of honesty, simplicity, and purity. In 1932 Philip Johnson and Henry-Russell Hitchcock dubbed this the "International Style". What began as a matter of taste was transformed into an aesthetic mandate. Modernists declared their way as the only acceptable way to build. As the style hit its stride in the highly-developed postwar work of Mies van der Rohe, the tenets of 1950s modernism became so strict that even accomplished architects like Edward Durrell Stone and Eero Saarinen could be ridiculed and effectively ostracized for departing from the aesthetic rules.[citation needed] At the same time, the unwritten laws against ornament began to come into serious question. "Architecture has, with some difficulty, liberated itself from ornament, but it has not liberated itself from the fear of ornament," Summerson observed in 1941. One reason was that the very difference between ornament and structure is subtle and perhaps arbitrary. The pointed arches and flying buttresses of Gothic architecture are ornamental but structurally necessary; the colorful rhythmic bands of a Pietro Belluschi International Style skyscraper are integral, not applied, but certainly have ornamental effect. Furthermore, architectural ornament can serve the practical purpose of establishing scale, signaling entries, and aiding wayfinding, and these useful design tactics had been outlawed. And by the mid-1950s, modernist figureheads Le Corbusier and Marcel Breuer had been breaking their own rules by producing highly expressive, sculptural concrete work. The argument against ornament peaked in 1959 over discussions of the Seagram Building, where Mies van der Rohe installed a series of structurally unnecessary vertical I-beams on the outside of the building, and by 1984, when Philip Johnson produced his AT&T Building in Manhattan with an ornamental pink granite neo-Georgian pediment, the argument was effectively over. In retrospect, critics have seen the AT&T Building as the first Postmodernist building.[citation needed] [edit] See also Ornament and crime [edit] References Wikimedia Commons has media related to: Meyer's OrnamentWikimedia Commons has media related to: Ornaments^ Summerson, John (1941) printed in Heavenly Mansions 1963, p. 217 ^ ibid, quoted by Summerson ^ Second Republic Exposition ^ Sankovitch, Anne-Marie (12/1/1998). "Structure/ornament and the modern figuration of architecture". The Art Bulletin. Retrieved on 2007-11-13.? Dolmetsch, Heinrich (1898). The Treasury of Ornament. Owen Jones (1856) The Grammar of Ornament. Lewis, Philippa; G. Darley (1986). Dictionary of Ornament. New York: Pantheon. ISBN 0-394-50931-5. Meyer, Franz Sales (1898). A Handbook of Ornament. Speltz, Alexander (1915). The Coloured Ornament of All Historical Styles. Retrieved from "http://en.wikipedia.org/wiki/Ornament_%28architecture%29" Styles of ornamentation can be studied in reference to the specific culture which developed unique forms of decoration, or modified ornament from other cultures. The Ancient Egyptian culture is the first recorded civilization to add decoration to their buildings. Their ornament takes the forms of the natural world in that climate, decorating the capitals of columns and walls with images of papyrus and palm trees. Assyrian culture produced ornament which shows influence from Egyptian sources and a number of original themes, including figures of plants and animals of the region. Ancient Greek civilization created many new forms of ornament, with regional variations from Doric, Ionic, and Corinthian groups. The Romans Latinized the pure forms of the Greek ornament and adapted the forms to every purpose. Other ornamental styles are associated with these cultures: Arabian Aztec Byzantine Celtic Chinese French Renaissance German Renaissance Indian Persian Italian Renaissance Japanese Middle Ages Moorish Pompeian Turkish A - K Offers furniture restoration with a product or service that delivers white furniture and buy furniture. You will want to find out more information.