Kwanza niseme mimi sio fan wala hater wa Lady Jay Dee, nafikiri she sings like a choir girl and she is only good when singing other people's songs choruses, which means she may have the right voice but in my opinion lacks the imagination and style to pen, arrange and harmonize great songs.Kwa hiyo nitakayoandika hayawi influenced na kuwa fan au hater.
Tatizo ni kwamba Lady Jay Dee is too ultramodenist for her own good in bongo.Ukienda na style
ultramodern,
minimal na
obtuse (mostly furniture) kama alivyofanya yeye watu waliozoea
conservative style wanaweza kujiuliza hii style imetoka wapi na hata kuchanganya ultramodern red na
"ku pop loud colors" as they do in the hood.
Hatujui red ina significance gani katika maisha yake, Surge Knight anapenda red kwa sababu mtu wa damu damu, na hata mbwa wake anamuita "Damu".Kwa hiyo one man's (or woman's in this case) meat is another's poison.You are entitled to your opinion but the leading magazine on the subject
"Interior Designs" proclaimed red to be "hot" na kwamba watu wenye confidence ndiyo hupenda kuweka hiyo rangi.Kwa mujibu wao Lady Jay Dee ana confidence kwa sababu red is so noticeable na yeye haku shy away from it.
Mimi sio mshabiki wa "trends" na siamini katika busara za designers, lakini kama unafuatilia interior design za ma
yuppies wa
NYC huwezi kushangaa hiyo nyumba ya Jay Dee kwa sababu hizi ndiyo
current trends za ma apartment mengi yaliyo upande wa pili wa
Hudson mitaa ya
Hoboken na
downtown Jersey City wanapokaa ma
yuppie wa
Wall St wasiotaka kukaa NYC na chic places kibao zinakuwa decorated kama hivi.Personaly hainivutii lakini kama uko into
brand names na
trends this is what is in now.Jay Dee is too modern for her own good kiasi kwamba watu hawamuelewi.Mwanamke kuweka red ina signify
hotness na
passion ndiyo maana nikasema kama yeye ni ultramodern
Dahomey Queen utasemaje? Angekuwa mwanaume ana red kama hiyo ningeshangaa lakini mwanamke sawa sawa tu, nanweza kukwambia habari za "a touch of magnolia shade of fuchsia" ukashangaa mwenyewe anaongelea nini.
Kumbuka kila siku watu wanatafuta kitu "new and exciting" to the detriment of those conservative types used to set trends.
Soma hapo chini uelimike katika interior design
Yaani baada ya kuandika yote nikatafuta picha naona hawa wamesema kitu kile kile nilichosema hapo juu, ultramodern minimalism and fresh ideas against conservative styles.
Contemporary exhibition space, designed by German design student Jana Klein-Kalmer, Interior design in minimalist style with the red color, For the exhibits, the walls become plateau – carrying plans and models – lying on different landings or hovering in front of the red walls. Really inspirational interior design. I hope you get the fresh idea after looking this pictures.
Red, hot, and new
by Josephine Minutillo
Interior Design · January 1, 2005
Italian manufacturer Cassina has built a furniture collection that ranges from icons such as Le Corbusier's LC4 chaise and Gerrit Rietveld's Zig-Zag chair to cutting-edge contemporary offerings from the likes of Hannes Wettstein and Patrick Jouin. And the inventory keeps expanding, most recently with the acquisition of Alias metal furniture. Cassina's bi-level New York showroom, however, hadn't grown by a single square inch for more than a decade.
Just as Cassina began to think about finding more spacious digs elsewhere in Midtown, basement space opened up right next door. The company quickly annexed the neighboring 2,200 square feet, then rehired architecture firm Giancarlo Tintori, which had just completed the successful redesign of Cassina's showroom in Milan.
The New York showroom remained open throughout the renovation. Now, after seven months of construction, differences are visible immediately: Even the storefront received a face-lift. Besides replacing an existing canvas awning with a more substantial stainless-steel one that proudly bears the Cassina logo in brilliant red, principal Giancarlo Tintori removed low-hanging soffits that had housed obsolete mechanicals-thus maximizing sidewalk gazing at window displays, changed every six weeks.
Inside, Tintori imported some of his Milan strategies to New York. The Cassina logo's red, for instance, became a signature element. Scarlet-lacquered partitions not only extend all the way up to the 10-foot ceiling, to define display areas, but are also 3 feet deep, to hide structural columns and provide storage. "By translating an important aspect of the company's logo into an architectural element, the Cassina brand becomes instantly identifiable," Tintori explains. "And the luminous quality of the red sets off the products graphically."
Despite the intensity of the red, the environment remains a neutral backdrop for the furniture-thanks to the planes of pure white. Floors are seamless epoxy. Walls are uninterrupted except for a few sculptural cutouts. Rows of spotlights are discreetly recessed in the ceiling, both upstairs and down.
The L-shape basement now offers almost twice the display area of the ground level, and the same red partitions frame more extensive vignettes incorporating larger pieces. It's here, for example, that Cassina shows Philippe Starck's M.I.S.S. home-theater sofa.
Part of the expansiveness derives from the fact that Tintori removed the original, central staircase and replaced it with one at the rear of the showroom. The dramatic new stair, fabricated in Italy and assembled on-site by a factory crew, comprises stainless-steel treads cantilevered from a freestanding steel wall anchored deep in the basement floor. The stairwell's rear wall is dominated by a giant red lacquer bar code shaped like a human figure-a graphic accent unique to the New York location of Cassina.
The top half of the 16-foot-tall figure is clearly visible from the street entrance. "Visitors see it as decorative," says Cassina USA creative director Pui-Pui Li. "But we regard him as a protector." Tintori, who calls the bar-code man Homo Codex, agrees: "He's the guardian of the showroom-benevolent, positive, attentively observing his surroundings."
From top: With low-hanging soffits removed from behind the windows, Cassina's showroom in New York is much more visible from the street. A bar code figure dominates the wall behind the stairwell.
From top: Lacquered partitions divide the ground level's display areas while concealing structural columns and providing storage. Philippe Starck's S.T. chair sits on the epoxy floor. The staircase's treads of stainless steel are cantilevered from a freestanding steel wall anchored 3 feet below the basement floor. The basement's Achille Castiglioni pendant fixture illuminates Mario Bellini's Cab chairs and La Rotonda table.
Clockwise from top left: Piero Lissoni's On-Off table and Nest sofa. Le Corbusier's LC7 swivel chair, designed in 1928 with Charlotte Perriand and Pierre Jeanneret. The Hola chair by Hannes Wettstein, paired with the LeBeau table by Patrick Jouin. Gianfranco Frattini's stacking tables grouped beside Gaetano Pesce's Feltri armchair.
FURNITURE: CASSINA. LIGHTING: FLOS. GENERAL CONTRACTOR: REIKEN CONSTRUCTION MANAGEMENT.