In The Future Skyscrapers Will Be Developed From Wood

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A number of years back, the Vancouver planning commission got an uncommon request. An architecture firm wished to construct an 18-story skyscraper from wood. In Canada, like most of the world, building codes limit wood structures to 4 stories, six at most. Brock Commons, which will house more than 400 University of British Columbia trainees beginning next Fall, is an order of magnitude larger than the majority of wood architecture, and currently the tallest wooden structure in the world.

It’s not likely to hold the record for long. The strategies utilized to construct Brock Commons– such as glue laminated lumber columns— are strong enough to support a high-rise building as tall as the Empire State Building according to recent price quotes, and a 24-story structure is currently underway in Vienna. Furthermore, architectural interest in this earliest of building products is surging globally, strengthened by environmental issues about the ecological effect of concrete and steel manufacturing.

An important new exhibition at the Martin-Gropius-Bau highlights the ecological benefits of structure in wood and also surveys the remarkable series of innovation in contemporary wood architecture. Lots of brand-new and imagined structures are displayed in stylish wood models and further elaborated in pictures and makings.

By numerous standards, Brock Commons is conservative. The designers went with a hybrid structure, with a concrete core for toughness, and abundant use of drywall as defense against fire. Neither of these concessions was strictly required. (For example, thick pieces of lumber naturally avoid fire from spreading by charring when exposed to flame.) The motivation for including conventionally contemporary products was mainly psychological: to assure planners and future residents that the building is safe.

Ultimately, these inhibitions will be overcome. Wood structures will emulate standard high-rise buildings with increasing fidelity, removing ever more steel and concrete. Yet the greater capacity is to develop entirely brand-new architectural types that make the most of wood by itself terms, resolving the qualities of timber products with innovative structural analysis and fabrication methods.

The Marin-Gropius-Bau exhibit consists of numerous examples of structures built on arboreal thinking. For instance, the Kaeng Krachan Elephant Park in Zurich is protected by an undulating wood shell that makes use of woodgrain to distribute force. The shape is partially notified by the products.

The notion of type following function is typically associated with Modernism, but in fact it’s as ancient as building. Slowly abandoned over centuries of decoration and ornamentation, it was recovered at the moment that the product compound of structure became fully artificial. With the go back to wood in the age of structural engineering, Modernism can handle new vigor.

Wood pays for brand-new restrictions. Those restraints will lead to brand-new types of charm.

Black Fashion History Brought to Life

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Black fashion matters. That is the overarching thesis of the Museum at FIT’s exhibit, Black Designer, co-curated by Ariele Elia, an assistant manager of outfits and fabrics at the Museum at FIT who likewise curated Faking It in 2014 and her co-curator, Elizabeth Method, a curatorial assistant at the museum who worked on Global Fashion Capitals in 2015 The exhibit, featuring 75 ensembles by 60 designers shows that even as they share an identity, black designers are barely monolithic. And that’s exactly what makes their contributions and affect so essential. “We truly wished to commemorate that and show where a great deal of the concepts we see on runways today, originated from,” explained Elia.

Culture and history are frequently seen directly, with contributions from minorities neglected. Style has always dealt with diversity and black designers as a whole have failed to attain recognition for their impact, as evidenced by the closing of the Harlem Black Style Museum in 2007. French haute couture, the ultimate symbol of white Western design, is generally thought about the standard-bearer of taste and craft. It is only recently that this snobbery has moved, with innovation and social media enabling the increasing democratization of style.

In 1953, when the fashion industry was, in practice, segregated, Ann Lowe, developed Jacqueline Kennedy’s wedding event gown and bridal party gowns, of which must be perfect for the complementary wedding reception But 10 days prior to the wedding, a pipeline burst in her workroom. Lowe worked overtime, providing the dresses on schedule, calmly swallowing the commission loss. Jon Weston, a FIT grad, dealt with discrimination from the fashion industry throughout the 1960s. But in the 1970s, after the Civil liberty Motion, mindsets towards black designers changed, allowing Weston to open a Seventh Avenue studio.

But while the 1970s was a good time for black designers, the sinuously sexy clothes produced by Stephen Burrows and Scott Barrie were regarded precisely since they were black. As well as these designers had a hard time, they ultimately influenced and changed the fashion business, “By their very presence,” stated Andre Leon Talley, who helped with the exhibition. “When they were acknowledged, and recognized, they had a minute and ran with it, like they were running for the Olympic gold medals. I believe that when they had chances to be on a phase, they took advantage and they quietly transformed style.”

There are some really amazing pieces placed throughout the exhibit. Mimi Plange’s pastel pink leather dress, whose curvilinear quilted texture shows the ancient African tradition of scarification is of specific note. Or the Ann Lowe dress worn by Jackie Kennedy on her wedding. In Australia, by note of such iconic works, venues such as the Yarra Valley wedding venues are crucial to one’s wedding day wardrobe. As one traverses through the nine thematic elements consisting of “Burglarizing the Industry,” analyzing the struggles of Seventh Avenue designers as they challenged discrimination; through “The Increase of the Black Designer,” putting a spotlight on designers like Stephen Burrows whose body-conscious styles were celebrated by the fashion press of the 1970s; through “Black Designs,” commemorating the designs who helped shaped the looks of charm; through “Menswear,” where black designers assisted redefine masculinity; the breadth of imagination unfolds.

From strenuous adherence to couture strategies, like with the black beaded dress of Eric Gaskins who trained with Givenchy and operated in the French couture custom, to remarkable adjustments with fabric, pushing the boundaries of exactly what fashion can be, as with Andre Walker’s abstracted khaki fit– each piece mentions emphatically the depth and vibrancy black designers bring to the fashion industry.

Unlike other style exhibitions, this one draws a lot from pop culture references, with Kim Kardashian included plainly. Street culture is pointed out, as is advocacy, and those elements assist ground the exhibition. It’s more than simply a style exhibition, it’s a work of social commentary. As this exhibit so wonderfully shows, diversity does not remove another individual’s chance, rather, it enhances the whole enterprise. Ideally, both fashion and society as a whole, can benefit from the vision of the curators.

A Short History Lesson On The Italian High Heel Industry

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womens shoes

womens shoes

The history of womens heels being high-end goes back to 3500 B.C. when the upper-class women used crudely developed heels. In ancient Greece and Rome, platform shoes were shoes with high wood or cork soles that were popular among actors who would use shoes of different heights to suggested differing social status or value of characters. As the history of shoes, with differing heights has actually developed, designer womens boots and heels, or the best of the very best in shoes, have stayed a considerable status sign in our society. So much so, the term “well-heeled” ended up being associated with luxurious wealth.

Italy was and is the epicenter for designer shoes. 1533 in Florence, Italy saw the very first women’s heel designed to extend the legs. They were most especially worn by Italian-born Catherine d’Medici for her wedding event, at age 14, to make her appear two inches taller. Today, Italy has ended up being the house of many designer shoe brands, because they are understood for their mix of sensational looks, fantastic quality, and beautiful craftsmanship. For the most ‘well heeled’ it is natural to select an Italian brand like Ferragamo, Prada, Gucci, Tods, Guiseppe Zanotti, or Dolce and Gabanna. Despite the fact that numerous womens shoes designers are not Italian, like Jimmy Choo or Christian Louboutin, their shoes factories are in Italy.

No other shoe has actually gestured toward leisure, sexuality, and elegance as much as the high-heeled designer shoe. Is it any marvel ladies will invest pails of money on a pair of shoes, specifically a high heeled shoe? Last year alone, 2008, females in the United States spent more than $5 billion on shoes online Here’s how that breaks down by inches: 0–.5 inch heel– $986 million,.5– 1.5-inch hell– $1 billion, 1.5– 3-inch heel– $1.6 billion, and over 3-inch heel– $1.5 billion. These figures are understandable when the typical expense for designer shoes is around $700 and can exceed well beyond $2,000. As our society goes through ever altering patterns, high-heeled designer shoes stay as enhancements of stature, status, and allure.

New Gallery Hits London

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crating and packing

The exhibition display plinths gallery was set for its grand opening on Friday, 12 February 2016, joining the group of galleries in the art scene in London. However, people ask just what is it that sets this gallery apart from the rest? In fact, it is the focus on limited edition works of art and the uniqueness by leading and world renowned artists. Instead of showing off the artworks in a traditional gallery setting, the use of display plinths creates a different and more of a domestic and home-like feeling to the viewer, holding the piece of artwork up like womens high heels. This gives compliments the artwork, giving a touch of reality due to its enhancement in setting. Here, we will discover more about these kinds of galleries using a popular gallery as an example, Plinth.

What does the ‘Plinth’ gallery mainly focus on?

The main kinds of art pieces Plinth is mostly interested in are the limited edition artworks. We strive to make contemporary art very affordable to the public, which is the embedded nature of these limited editions. We have now enabled people from the wider community to have access to world famous artists works of art for only a fraction of the price of the original. Plinth strives to blur the conscious line between the aesthetics and functionality, and art and design – the majority of the products that we offer are designed to be shown off inside a domestic setting, not your typical gallery setting.

How did Plinth decide what their specialty was going to be, and what is the unique selling point?

The team first had to align all of its products with the businesses manifesto, and that is when the question arose of where we planned on showing off the pieces of artwork. These kinds of works are more suited to the living room kind of setting – being propped on the mantelpiece or coffee table, not in a white gallery where it wouldn’t have the maximum impact. The issue was solved when the team visited an old 1710 Georgian townhouse, located in the center of London. Many of the quirky characteristics of this house still remain to this day and is what we have tied into our gallery. Plinth’s gallery is something out of the ordinary, with some describing it as an ‘artist’s salon’. The team has sourced all kinds of quirky furniture settings including opened shipping crates strategically placed in corners, in the attempt to create that similarity to the old Georgian house. Many of the vintage shop fittings have been sourced from all around London, and the best thing is that everything that you see in the building is for sale, benefiting our designers and suppliers.

7 Adorable Plus Size Lingerie Sets For Valentine’s Day

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For many young adults, their very first memories of Valentine’s Day would most likely be of deciding what paper card to a crush of yours in the early years of primary school. As a young one every kid in a school would have had a valentine, but when you grow up it becomes more complicated. Choosing what to wear for your valentine could be a very hard decision, including deciding what to wear in the bedroom like those fancy womens shoes, yes I am talking about plus size lingerie.


Many ladies who are plus size I hear say they don’t usually think too much into wearing lacy lingerie, but more and more these days are starting to rethink their decision, realising that there so much more to choose from these days with very nice looking womens knitwear. There are now many varieties in trendy dresses plus size, corsets, caged bras and even comfortable oversized shirts. Here is a great selection of plus sized Valentine’s Day clothing that may get your senses tingling.


  1. When You Want To Feel And Look Like A Princess


Cassandra Pink Marabou Dressing Gown

Here we have started with a piece of clothing that makes a statement. This is a really nice dressing gown that can especially be used in the colder months of the year, wherever you reside in the world.


  1. If You Desire Nice Looking Underwear But Do Not Like The Underwire


Two Tone Bra Set

This red and black lace set many plus size women really find attractive. Why? Because there is no underwire in it at all, which increases the total comfort of it and you can even buy some frilly womens boots to match. This is definitely a piece of clothing that is a must for Valentine’s Day.


  1. When You Want To Wear Flowers, Not Pick Them


Love Affair Unlined Underwire

This incredibly comfortable and very nicely designed bra set is very detailed and look very nice with your favourite womens wedges. The way the base colours blend with the flower pattern makes this an irresistible piece of women’s plus size clothing for any plus size woman.


  1. Gender Neutral Comfort Anyone?


Tomboy Short

Every now and then you just want to wear something that is comfortable and don’t even care what it looks like, and in this case, if they even look like they belong to a male. These shorts are extremely comfortable and are also very stretchy. Sounds good, doesn’t it?


  1. Feeling Like A Ringleader?


Diamond Corset

This intriguing piece of clothing not only looks aesthetically pleasing to the eye, but it screams confidence. If you are after that boost of confidence and are after those feel good hormones, this is definitely a good choice. This outfit is that hot that you’ll be making your partner scream for the emergency lighting!


  1. Needing That 90’s Look?


Plus Size Satin Long Sleeve Top and Pyjama Set

You will find that silk and satin pyjamas would have been a desire of many women when they were younger. But don’t let the age factor be the deciding factor of whether you buy yourself a pair or not. Go for it! They look very trendy and if you grab some boots online or slippers it would look great!


  1. In Need of Something Soft In Your Life?


Naturally Close Super Soft Velour Gown

Whether it is Valentine’s Day or staying over at a best friends house for a girls night in, this extremely soft gown is your new friend when you take your comfy womens playsuits off!


To read the original article, please click on the link below.

Packing Art Your Way

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I recently came across this article by Phillip Schubert about how people actually wrap and transport works of art and other precious artifacts, and thought this was a great read. I have always wondered what goes on behind the scenes of museum exhibitions with network security and the processes the curators have to follow when it comes to keeping wok pieces safe. Hope you find this as insightful as I did. Enjoy…

DIY Wrapping and Packing Art for Storage or Transit


A question often asked, and which is not an infrequent subject of web searches is, “What is the best way to package art for storage or transport?” Of course, there really is no short answer, for the methods are almost as varied as the types of art objects made. The many different techniques for wrapping art for storage or transit depend on factors such as the properties of the artwork, the length of time in storage and the method of transport. Ideally, you would hire a reputable company that deals exclusively with museum storage solutions and packing fine art. It might seem like an expensive solution, but it will be money well spent in terms of the amount of work it will save you. If you want to do it yourself, there really is no one-size-fits-all solution, but there are some general principles that can serve as a guide. Minimally, you’ll want to protect against adverse handling, moisture and acidic materials.


The best way to protect paintings is to make sure that none of the wrapping material touches the surface of the painting, and when they are hanging that the warehouse lighting is not too intense. This is especially important for works with still-tacky paint and/or a delicate or textured surface or heavy impasto. You can make a collar with wide strips of double-thick cardboard that fits around the work and extends the perimeter edges out beyond the face. Then wrap it with a high-grade polyethylene. Wrap it completely around, like a Christmas present, covering the face and the back, and do all of the taping on the back side. Use packing tape, but don’t overdo it. Don’t seal the overlapping edges of the plastic; the idea is to provide a barrier against moisture, but to allow air to pass through. A work that is completely sealed in can develop condensation as it passes through different environmental conditions.
If completely dry, paintings with a virtually flat face can just be wrapped in polyethylene as described above. If you are at all concerned that the plastic might stick to the paint, you can use a thin polypropylene foam as a barrier between the work and the plastic. Better still (though not archival, and maybe harder to find) is silicone paper. Never use glassine or any other paper for this, as they can stick to the surface. Also, if you’re using bubble wrap instead of polyethylene, definitely use a barrier, and then wrap with the bubbles outward–otherwise it can leave an impression embedded in the surface. Blanket or fabric wrapping is not recommended, as their fibres and textures can also embed the paint.

The best materials to use, regardless of type (paper, cardboard, foam, tape), are pH neutral. This means they are neither acidic nor alkaline. This is especially important for wrapped works that will be stored for an extended period of time. At the very least, the first layer of protection, in closest proximity to the artwork, should be acid-free and inert (stable or not subject to changes in chemical composition over time). This provides a buffer against other packing elements that may not be pH neutral. With this in mind, the following packing methods will acceptably protect artworks over the short- to medium-term.

Framed or mounted works

If the work is framed or mounted so that you can see the edges of the paper or other substrate, don’t rotate it or lay it face down–this can tear the hinges (mounts) that keep the work in place. Lay it face up to wrap it, and only stand it vertically in its intended orientation.


The best way to package artworks for transporting is in shipping crates. That’s a job for the professionals. Otherwise (and less optimally), small- to medium-sized works wrapped as above can be consolidated into appropriately-sized boxes. Put a thick layer of styrene or other sheet foam or multiple layers of bubble wrap or crumpled paper on the bottom, at least 4cm (2 inches). Stand the works inside, placing them face-to-face and back-to-back, making sure that each work either vertically or horizontally spans the ones against it; you don’t want a smaller work pressing into a larger one. You can put cardboard that spans in between works that don’t. Pack the box snugly, and stuff crumpled paper or other void-fill into the negative spaces. The idea is to prevent the works from moving in any direction inside the box. Close the box and tape it securely.
Wrapped works too large for boxes should at least be completely encased in double-thick cardboard and taped securely.

History of L’Oreal 1909-1919

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Eugène Schueller graduated from France’s nationwide chemical engineering school Ecole Nationale Supérieure de Chimie de Paris in 1904 and went on to produce the business that will later end up being L’Oréal, Société Française des Teintures Inoffensives put Cheveux, on 30th July 1909.

As a young chemist in 1907, Schueller shows his skill for originality by producing his very first hair color solutions under the name Oréal, utilizing a mix of safe chemical substances. The dyes are an impressive advancement for the time, offering a refined variety of colors in contrast to other techniques available in the marketplace, which utilize henna or mineral salts which produced a brilliant, but rather synthetic appearance. Schueller declared a patent (n ° 383920) on 24th March 1908 for his new formulations.

With the war over, a brand-new age starts. All over the world, ladies are working, making money, growing more worried about their looks and looking for beauty therapy methods to avoid grey hairs from exposing their age as well as new makeup products to stop them looking their age. Oréal hair dyes are an excellent solution, even beyond the borders of France, breaking brand-new ground in Italy in 1910, Austria in 1911 and the Netherlands in 1913, even reaching as far afield as Canada, the UK, the United States, and Brazil

In 1909, Eugène Schueller, a young chemist with an entrepreneurial spirit, established the business that was to end up being the L’Oréal group. All of it started with among the very first hair dyes that he created, made and offered to Parisian hair stylists. With this, the creator of the group created the very first link in what is still the DNA of L’Oréal: research study and development in the service of beauty.

Through his determination and passion, Eugène Schueller prospers in persuading Paris hairstylist to utilize his dyes. Schueller is overflowing with concepts for the brand-new business and develops agents to offer his items throughout France. He likewise establishes a hair-coloring school on Rue du Louvre in Paris, which he personally manages, making use of a previous hairstylist from the Russian Court to show his ideas. He very quickly understood that his success is connected to that of hairstylist, he set out to create a unique relationship with the most influential stylist at the time, which grew more powerful every day.

A Brief History of Coco Chanel

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Chanel started designing hats while working with Balsan, at first as a diversion that later developed into a company. She ended up being a certified milliner (hat maker) in 1910 and opened a shop at 21 rue Cambon, Paris called Chanel Modes. As this area currently housed a recognized clothing company, Chanel offered just her millinery creations at this address. It wasn’t till many years later, Chanel got into women’s dresses, becoming very famous for her Chanel Suit made for ladies which was also made for plus size women of the time. Chanel’s millinery profession flowered as soon as theater starlet Gabrielle Dorziat asked her to design her hats in the F Noziere’s play Bel Ami in 1912. Consequently, Dorziat modeled Chanel hats once more in Les Modes.

In 1913, Chanel opened a store in Deauville funded by Arthur Capel where she presented luxurious casual clothing that were ideal for leisure and sport. The fashions were built from modest materials such as jersey and tricot, mainly made use of for guys’ underwear. The area was a prime one, in the center of town on a stylish street. Right here Chanel offered hats, coats, sweatshirts, and the marinière, the sailor shirt. Chanel had the devoted assistance of 2 members of the family. One was her sister, Antoinette. The other was Adrienne Chanel, near to Chanel’s own age, yet, incredibly her auntie; the child of a union her grandpa had late in his life. Adrienne and Antoinette were hired to design her designs; every day the 2 ladies walked through the town and on its boardwalks, marketing the Chanel creations.

Chanel, figured out to re-create the success she had actually enjoyed in Deauville, opened a facility in Biarritz in 1915. Biarritz, located on the Côte Basque, close to rich Spanish customers, had the status of neutrality throughout World War I, permitting it to end up being the play ground for the well-off and those banished from their native nations by the hostilities. The Biarritz store was set up not as a shop, however in a rental property opposite the gambling establishment. After just one year of operation, business showed to be so profitable that in 1916 Chanel had the ability to compensate Capel his initial financial investment– a choice Chanel made on her own, without Capel’s input. While in Biarritz, Chanel made the acquaintance of an expatriate aristocrat, the Grand Duke Dmitri Pavlovich of Russia. They had a charming friendship, and they remained in close association for years afterward. Just 9 years after opening her first shop, in 1919 Chanel was registered as a couturier.

Chanel is one of those designers that have endured until this day. Her creations can still be found in many of the top department stores and boutiques. As mentioned at the beginning of this article, Chanel has for many years made clothing for the ‘larger than normal’ women of the world. However, it wasn’t until as recent as 2010 that a major department store, Saks Fifth Avenue became the only major retailer in New York to carry women’s plus size clothing.


History of Louis Vuitton 1854-1939

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History of Louis Vuitton 1854-1939

The Louis Vuitton label was established by Vuitton in 1854 on Rue Neuve des Capucines in Paris, France. Louis Vuitton had actually observed that the HJ Cave Osilite trunk could be easily stacked and in 1858, Vuitton presented his flat-bottom trunks with trianon canvas, making them lightweight and airtight. Prior to the intro of Vuitton’s trunks, rounded-top trunks were used, usually to promote water run off, therefore could not be stacked. It was Vuitton’s gray Trianon canvas flat trunk that enabled the ability to stack with ease for trips.

Numerous other luggage makers copied LV’s design and style.

In 1857, the business took part in the universal exhibit in Paris. To secure against copy cat designers, Vuitton altered the Trianon design to a beige and brown stripes design in 1876. By 1885, the business opened its very first shop in London on Oxford Street. Soon after, due to the continuing success of his design, in 1888, Vuitton developed the Damier Canvas pattern, which bore a logo design that checks out “marque L. Vuitton déposée”, which translates into “L. Vuitton signed up trademark”. In 1892, Louis Vuitton passed away, and the business’s management passed to his son.

After the death of his father, Georges Vuitton started a project to build the business into an around the world corporation, showing the business’s wares at the Chicago World’s Fair in 1893. In 1896, the business introduced the trademark Monogram Canvas and took out around the world patents on it. Its graphic signs, consisting of quatrefoils and flowers (along with the LV monogram), were based upon the pattern of utilizing Japanese and Oriental designs in the late Victorian age. The patents later on showed to be effective in stopping counterfeiting. In this exact same year, Georges took a trip to the United States, where he visited cities such as New York, Philadelphia, and Chicago, offering Vuitton items. In 1901, the Louis Vuitton Company presented the Steamer Bag, a smaller sized piece of travel luggage created to be kept inside Vuitton travel luggage trunks.

By 1913, the Louis Vuitton Building opened on the Champs-Elysees. It was the biggest travel-goods store on the planet at the time. Other shops soon opened in New York, Bombay, Washington, London, Alexandria, and Buenos Aires as World War I started. Later on, in 1930, the Keepall bag was launched. Throughout 1932, LV presented the Noé bag. This bag was initially produced for champagne vintners to carry bottles. Quickly afterward, the Louis Vuitton Speedy bag was presented (both are still produced today). In 1936 Georges Vuitton passed away, and his boy, Gaston-Louis Vuitton, assumed control of the business.

In 1938 the author Eric Newby purchased a Louis Vuitton trunk from a train lost property store in London’s East India Dock Road. The idea was that he would take it with him on board when he presented himself as an apprentice on the four-masted square-rigger sailing ship Moshulu. It ended up being the last Grain Race in between Australia and Europe. He headed out in 1938 and sailed back in 1939. He writes of his experiences in his autobiographical book ‘The Last Grain Race’.