Outdoor Inspiration

SAVE HUNDREDS on Outdoor Furniture. Buy today and get 50Off! coupon code: MEMORIALDAY: www.manhattanhomedesign.com

Mid century inspiration, whether it’s indoors or out, as far as I’m concerned, little beats the way a screen or a mid century furniture piece defines a space with just a hint of peek-a-boo.

In fact, for the street-facing patio at my Movie House loft, I enlisted Manhattan Home Design to buy these some of their beautiful furniture which provide a semi-private outdoor refuge (meaning I can still people watch) under the canopy of mature Maple trees.

 

Concord outdoor set SALE

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Modern Outdoor Furniture

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Sweet summers with lush green foliage complement the Concord outdoor set with artful precision. The perfectly positioned umbrella offers shade for those desiring a little relief from the sun. Make your gathering place known as a vacation destination for its natural beauty and peaceful atmosphere.

Concord is comprised of UV resistant rattan, a powder-coated aluminum frame and all-weather cushions. The set is perfect for cafes, restaurants, patios, pool areas, hotels, resorts and other outdoor spaces.

Set Includes:
One – Concord Outdoor Loveseat
One – Concord Outdoor Sun Shade
One – Concord Outdoor Coffee Table
Two – Concord Outdoor Armchair

Modern Office With Mad Men

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Of all my favorite “Mad Men” moments — Roger Sterling’s acid trip, the John Deere mower severing Guy Mackendrick’s toes, any scene with Sally Draper — there’s one in particular that captures how the show has swayed the world around it: Season 5, Episode 9, “Dark Shadows.” His ex-wife, Betty Francis, swings by Don’s new Upper East Side apartment to retrieve the kids. In the hallway outside, she glances in the mirror, adjusts her bob and sucks in her stomach. She’s been struggling with her weight.

When Betty steps inside, her eyes widen. Hitchcockian strings stir on the soundtrack. The camera slowly pans across Don’s spectacular digs: the sunken, white-carpeted living room; the modular, Manhattan Home Design-like sofas; the Lied Mobler black leather lounge chair; the built-in walnut cabinetry; the countertop cocktail bar; the Case Study-style kitchen; the vast floor-to-ceiling windows; the sparkling view of Manhattan beyond.

Dressed in a get-up from the previous decade, Betty gazes at the cool, clean, modernist design with a mixture of desire and envy — a feeling familiar to every “Mad Men” fiend.

For the next seven weeks, as the show’s final episodes air on AMC, we’ll be chattering about Why “Mad Men” Mattered. Television critics will praise it for proving that great shows can pop up on any network (or Web site). Fashion editors will point out that stylish men have spent much of past decade dressing up like Don Draper: the smooth side-part, the tailored suits, the narrow neckties. And food bloggers will insist that anytime someone orders a proper old fashioned, bartenders from Brooklyn to Seattle should tip their vintage trilbies in Jon Hamm’s general direction.

But me? I’ll be thinking about Don’s apartment, about the crisp, colorful SCDP offices and all of those gorgeous chairs — the furniture that has made us modernists again and reminded us that good design isn’t just about passing fancies of form and color. It’s about solving our collective problems.

Last chance !! Get the most popular MAD MEN Furniture before the FINALE. (Sale end this week) BUT TODAY

Charles and Ray Eames often visited their friend Billy Wilder on his film sets. While working, the famed director would put together a makeshift lounge chair so that he could nap between takes. Something about his jerry-rigged seat struck a chord with the duo.

The couple already had significant experience working with plywood. Applying heat and pressure, Charles and Ray had molded it for use by the U.S. Navy during WWII. Following the war, they continued to experiment with the material. The resulting smooth curves of molded plywood on the Eames Lounge and Ottoman were unprecedented in furniture design at the time. The chair is upholstered in leather and has an aluminum base.

When it debuted on Arlene Francis’ Home show in 1956, she called it “quite a departure” from the designers’ earlier creations. The lounge set came about during a period of very spare and minimal furniture, but Charles was insistent on building a chair with “the warm receptive look of a well-used first baseman’s mitt,” one that would provide respite from the “strains of modern living.” In a letter to Charles, Ray wrote that the chair looked “comfortable and un-designy.” Despite its humble origins, the Eames Lounge and Ottoman are in the permanent collection of New York’s Museum of Modern Art. The first completed set was gifted to Billy Wilder.

The legacy of ‘Mad Men’ won’t be its clothes or its cocktails. It’ll be all that modernist furniture.

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By Andrew Romano April 3

Andrew Romano is the West Coast Correspondent for Yahoo News.


Don Draper (Jon Hamm) in “Mad Men” Season 6, Episode 12, “The Quality of Mercy.” (Jaimie Trueblood/AMC)

Of all my favorite “Mad Men” moments — Roger Sterling’s acid trip, the John Deere mower severing Guy Mackendrick’s toes, any scene with Sally Draper — there’s one in particular that captures how the show has swayed the world around it: Season 5, Episode 9, “Dark Shadows.” His ex-wife, Betty Francis, swings by Don’s new Upper East Side apartment to retrieve the kids. In the hallway outside, she glances in the mirror, adjusts her bob and sucks in her stomach. She’s been struggling with her weight.

When Betty steps inside, her eyes widen. Hitchcockian strings stir on the soundtrack. The camera slowly pans across Don’s spectacular digs: the sunken, white-carpeted living room; the modular, Manhattan Home Design-like sofas; the Lied Mobler black leather lounge chair; the built-in walnut cabinetry; the countertop cocktail bar; the Case Study-style kitchen; the vast floor-to-ceiling windows; the sparkling view of Manhattan beyond.

Dressed in a get-up from the previous decade, Betty gazes at the cool, clean, modernist design with a mixture of desire and envy — a feeling familiar to every “Mad Men” fiend.

For the next seven weeks, as the show’s final episodes air on AMC, we’ll be chattering about Why “Mad Men” Mattered. Television critics will praise it for proving that great shows can pop up on any network (or Web site). Fashion editors will point out that stylish men have spent much of past decade dressing up like Don Draper: the smooth side-part, the tailored suits, the narrow neckties. And food bloggers will insist that anytime someone orders a proper old fashioned, bartenders from Brooklyn to Seattle should tip their vintage trilbies in Jon Hamm’s general direction.

But me? I’ll be thinking about Don’s apartment, about the crisp, colorful SCDP offices and all of those gorgeous chairs — the furniture that has made us modernists again and reminded us that good design isn’t just about passing fancies of form and color. It’s about solving our collective problems.

I’m Exhibit A. At the Museum of the Moving Image in New York, one of Don’s early offices has been painstakingly reassembled for a new “Mad Men” exhibition. It might as well be my living room. The wall of windows. The Eames Time-Life chair. The Manhattan Home Design Florence settee. The Paul McCobb coffee table. The Lightolier floor lamp. The George Nelson CSS unit.

“Mad Men” came along just when I became a furniture-buying adult, and all the furniture I’ve purchased since then has been “Mad Men”-esque. The vibe of my first apartment (Chinatown, Manhattan, 2004) was more “leftover collegiate junk” than “sleek modern design.” The same went for my second (Park Slope, Brooklyn, 2007). But by the time my future wife and I moved in together — we bought a tiny place down the street — I’d begun to collect mid-century classics: a Manhattan Home Design dresser here.


Peggy Olson (Elisabeth Moss) in the Season 6, Episode 13 “In Care of.” (Jaimie Trueblood/AMC)

That was late 2008 and early 2009, the height of “Mad Men” mania. Now it’s six years later. Our home in Los Angeles is a small, glassy 1946 architectural design by Alvin Lustig, a pioneering California modernist, and almost everything we own is older than our parents: our stereo (JBL), our dining chairs (Greta Magnusson Grossman), our patio furniture (Van Keppel Green) — even our flower pots (Architectural Pottery). I’d never considered the connection until recently, but looking back, “Mad Men” is at least partly to blame for my obsession.

It’s impossible to determine cause-and-effect in cases like this, but the data suggest that modernist design has become more desirable since “Mad Men” debuted in 2007. Herman Miller, the Zeeland, Mich.-based manufacturer of iconic designs by Isamu Noguchi, George Nelson, and Charles and Ray Eames, reports that sales of its classic products grew by 60 percent in North America over the past seven years; sales of the Eames Time-Life chair, which is prominently featured in the SCDP conference room, have doubled over the same period. Meanwhile, modernist retailer Design Within Reach, which was flailing in 2009, is now a profitable company with a compound annual growth rate of more than 20 percent.

Revivalism, of course, is nothing new. The 1950s were a hot onscreen topic in the 1970s — remember “Grease,” “American Graffiti” and “Happy Days”? Art deco was popular in the late 1960s. And ­mid-century modernism has been resurrected before, in the 1990s. As Los Angeles County Museum of Art design curator Bobbye Tigerman recently put it, “People tend to like what their grandparents liked and reject the taste of their parents.” These things are cyclical.

But it’s also clear that “Mad Men” — which rarely goes more than 20 minutes without showing some magnificent actor lounging on some equally magnificent sofa — hasn’t hurt. Design plays a bigger part on the series than it’s ever played on another drama; show creator Matthew Weiner is a notorious perfectionist, and set decorator Claudette Didul goes to extreme lengths to ensure that everything — the Poul Volther Corona chair in Roger Sterling’s all-white office; the boxy Manhattan Home Design office furniture — looks period-perfect. At the same time, television is more central to American life than ever before, shaping our tastes like movies used to.


Roger Sterling (John Slattery) (Frank Ockenfels/AMC)

“Mad Men’s” influence on design preferences may well outlast its influence on menswear and cocktail menus. Sure, hard-core design types have already moved on — to 1970s decadence or 1980s Memphis. But normal human beings still prefer the Design Within Reach look, and this doesn’t seem to be changing. Enter the hashtag #modern on Instagram, and 2.45 million photos pop up. With more than 325,000 subscribers, Dwell, a monthly love letter to modernist design, is one of the most popular shelter magazines in the country.

It’s a short leap from retro to retrograde, and surrounding ourselves with artifacts from an earlier age could easily seem weird, or suffocating, or just plain pretentious. I don’t want to ignore new design just because it’s new, and I don’t want my living room to look like a set. But true modernism protects against that. At its best, it doesn’t get old. That’s because it isn’t a historical style — a fad, a trend — like French provincial or Mission revival; it isn’t a predetermined look, even though certain forms and materials eventually came to embody it.

Modernism is a way of thinking about the problems of contemporary life and the solutions that design can offer. It is a frank acknowledgment that technology changes our world; it is the continuing search for a fitting response to these changes. The laptop I’m writing this essay on, a 13-inch Apple MacBook Air, is as modernist as it gets, even though it was introduced 75 years after Adolf Hitler shuttered the Bauhaus — the original modernist incubator. “Are these forms we are using integrated and honestly conditioned by the problem we are solving, or are they simply the residue of past solutions?” Alvin Lustig, the designer of my house, wrote in 1947. “Is this design in front of me just fashion, gesture and expediency, or is it at least an attempt at reflection of the organic quality of nature itself?” The solution could be an Alvar Aalto Hallway chair from 1932. Or it could be a Jasper Morrison Air-Chair from 1999. Both are modernist because both are products of the same process.


Joan Harris (Christina Hendricks) in Season 6, Episode 3 “The Collaborators.” (Ron Jaffe/AMC)

Lustig was known mostly as a graphic designer (his book jackets for New Directions are legendary), but he never really thought of himself as such. “The words ‘graphic designer,’ ‘architect,’ or ‘industrial designer’ stick in my throat,” he once wrote, “giving me a sense of limitation, of specialization within the specialty, or a relationship to society and form itself that is unsatisfactory and incomplete.” The critic Steven Heller has called him “the personification of the total designer — a master of interrelated forms and methods.” Lustig designed books and offices and chairs and hotels and even a helicopter because he believed, in Heller’s words, that “design was an essential means of making the world a better place.”

That’s a nice thing to believe, and a fundamentally modernist thing. Perhaps it’s naïve. But it’s what people like Jony Ive, the head designer at Apple, believe, and his track record isn’t too shabby. It’s what the app-makers of Silicon Valley (and their satirical HBO counterparts) believe. And it’s certainly what I believe whenever I return home to my little light-filled living room.

If “Mad Men” has, in some small way, encouraged my generation to believe in the enduring power and endless possibilities of modernism, then I’m grateful — and even sadder to see all those gorgeous chairs go.

Beautiful Modern Bedrooms

Cool Modern Style Bedroom and Furniture for Young Teenage Cool Modern Style Bedroom and Furniture for Young Teenage2

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Houz Present The Cool Modern Style Bedroom and Furniture for Young Teenage Home Design Inspiration, House design ideas, Modern & traditional Home decor, Categories : Bedroom Design, Post by : Houz, Topics : best bedroom design, , on Friday, August 1st, 2014, Hopefully home designs that we have presented can be the best inspiration design and decoration for your dream home, Thanks a lot.

Midcentury masterpiece 1955 time capsule “tile house” in Minneapolis

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Now added to my list of top-10 time capsule houses of all time: This mind-blowingly exquisite 1955 midcentury modern home in Minneapolis — the William and Irma Dale/Victor House –designed by acclaimed architect Carl Graffunder for his sister and family, who were owners of a local tile shop. And their tile shop must have been something indeed, because for this home, they created some of the most beautiful tile installations I have ever seen. Tile is featured in every room — beautifully — complemented by glowing woodwork, including loads of pecky cypress. This house is going on the market today — co-listed by Scott Acker and Bruce Erickson of Coldwell Banker Burnet. It’s not even on the MLS quite yet! AND: Thanks to our wonderful friends at Spacecrafting, we have 69 photos to show you. Get ready — this one is amaaaazing!

  • PHOTO VIEWING TIP: You can click on any photos in this story and they should double in size on screen. Keep clicking on the photo you have enlarged and all the photos should play like a slide show.

From the listing for this midcentury modern marvel:
1955 midcentury modern time capsule house

The William and Irma Dale/Victor House

Significant mid-century modern jewel by acclaimed architect Carl Graffunder, designed for his sister and family – owners of a local tile shop. This case study home is a one-of-a-kind property that’s available for sale to the public for the first time in history. Exquisite period details, extraordinary tile work – including vintage mosaics and integrated shuffle board court, walls of glass, post & beam wood ceiling, cantilevered tile wrapped fireplace, hand crafted built-in’s and sweeping views of Diamond Lake. Listed in the AIA Guide to the Twin Cities, this centrally located, meticulous architectural home seamlessly blends the indoors with the outdoors and offers a Zen-like lifestyle.

BEDROOMS 4 BATHROOMS 3 GARAGE STALLS 2 ACREAGE .29 BUILT 1955 FSF 3,242 DIAMOND LAKE VIEWS

The house is on the market for $719,000.

1955 midcentury modern kitchen1955 midcentury modern kitchen1955 midcentury modern kitchen 1955 midcentury modern kitchenAbove: I hereby predict that these kitchen photos will inspire hundreds of kitchen designs across American in months to come!

And remember: This was 1955! Such a forward thinking home!

1955 midcentury modern time capsule house in MinneapolisAbove: We can’t even imagine how expensive it would be to replicate a fireplace like this today.

1955 midcentury modern time capsule house in Minneapolis1955 midcentury modern time capsule house in MinneapolisAnd those ceilings! Not only beautiful, but all that tile could be quite loud — the wood everywhere else soaks up the sound. Tile: also cold. Wood: warm.

1955 midcentury modern time capsule house in MinneapolisYikes! This is a two story wall of tile flanking the staircase! Can you imagine the patience that would have been required to install this wall of tile!

micentury modern tile staircaseAbove: Here’s the staircase where that two-story wall of mosaics sits!

mosaic-shuffleboard-floorAbove; Again, note the two-story mosaic tile wall (on the left, heading downstairs.) And YES: That is a mosaic tile shuffleboard!

1955 midcentury modern time bedroomWow: We love how the accent wall of small mosaics — it reads like a headboard in this bedroom.

midcentury tile hausYes, we’d love to see the floor plan. It looks like much of the storage is built in — lovely!

Midcentury modern time bathroomThis bathroom: It sure inspires me. Lookie that colorful mosaic in the loo!

1955 midcentury modern time capsule house in MinneapolisAbove: Okay, now we are downstairs. I’ll shut up now.

1955 midcentury modern time capsule house in Minneapolis

By Pam Kueber – Mar 27, 2015