Black color giving dark impression when applied to the color of the bedroom. The character of this color gives a sense of discomfort, distress and grief. This is in contrast with the white color that brings a sense of comfort. But when the two colors are combined in the room, then the impression that appear simple and elegant. These two colors are complementary.

For you lovers of both these colors, you can apply this color to decorate the bedroom. These colors will make your bedroom a modern impression of simple and elegant.

Use white color for the walls while the black color for the interiors of the other.

Color is an important part in designing the room, especially bedroom. The color gives a visual feel different. The color blue is the color most preferred. It gives the impression of calm peace of mind or feelings,symbolizes peace, calm, safe and orderly. For you lovers of the bedroom designs in blue, colorhomedesign collect a variety of bedroom designs in order to inspire you.

In the design above, the color blue dominated the walls of the room. For the other interior, more likely to use the color white.

Values ​​that are important from the design room is comfort. This means that the bedroom that we make provide comfort, so it can improve sleep quality of our own.

Design with a bright blue color, like the sea, providing coolness. So refreshing.

The power of these colors provide its own stimulus to our lives.

Design with a dark blue color is not less interesting. This design gives an elegant impression.

The room with the impression that very exclusive.

Rami Tareef trying to explain the differences and similarities between craft and design. This project uses the traditional crafts as the seat design. This design deals with wicker furniture. He tried to defend the values ​​of the past by combining innovative design features of mass production.

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Domus chair created by an interior designer from Torino, Italy, Adrea Mangano. It is designed through consideration of changes in space and needs a place that is in the house. The inside of the Domus can be used as a storage, for example storing books. The inside can also be removed, separated from the outside. Its main feature is the ability to change function depending on the needs of users.

Situated in a flood plain on the barrier island off of Long Island, this house is elevated on piles, allowing the beach landscape to run through the site. A wood boardwalk, running the length of the site from the entry road out to the rear yard boat dock, splits the house, providing dramatic views of the bay and marsh grasses. The house’s massing is a composition of solid and void, with solid walls to the ground and others on piles left exposed.

Despite its six bedrooms, the couple’s Hamptons retreat had begun to feel cramped, thanks to their five young children and endless guests. “We were chock-full, weekend after weekend,” the wife says, adding that during some Jewish holidays, namely the fall feast of Sukkoth, “we can have up to 30 people eating all their meals here and staying over for three or four days.”

So when a property across the street fortuitously came up for sale—a sandy wedge of land facing glittering Quantuck Bay—she and her husband jumped at the opportunity to build expansive guest quarters that would, she explains, “reflect some of our evolving contemporary sensibilities.”

In a part of Long Island where most new construction is hardly shy and retiring, the building reveals itself gradually. Viewed from the road, the two-story, four-bedroom structure appears at first glance to be a modernist box with few windows and cedar cladding. But there is a twist—literally.

A section of the first floor is rotated out at a 20-degree angle, with a small portion of the second floor cantilevered above it. Eye-catching too is the slot in the center of the facade that takes the place of a traditional front door; a gangway-style walk passes straight through it to the other side of the house. source

Gwathmey Residence and Studio, 1965

At the age of 27, Charles Gwathmey designed this groundbreaking residence in Amagansett, New York, for his parents, Rosalie, a photographer and textile artist, and Robert, a social realist painter. (A studio building followed.) The architect conceptualized the 1,200-square-foot house as a composition of geometric forms, cylinders interlocking with a central cube. The New York Times called the completed building “as poised as a chess piece on a green playing field.” After his mother’s death in 2001, Gwathmey used it as his weekend residence, with only one major change: he replaced the concrete floors with marble.

Sedacca Residence, 1967

Like the Gwathmey Residence and Studio, this gray-stained-cedar house—built in Northwest Harbor, New York, for graphic artist Joe Sedacca—had a small budget, a small footprint (only 1,100 square feet), and a surprisingly intricate floor plan. “In so much residential architecture, there are separate rooms, and you design the rooms, and they are connected by hallways, and the only interesting space might be the center stairwell,” Siegel says. “We always thought about architecture in a different way. It was the intersection where those spaces come together—where things interlock and connect volumes—that was the most interesting to us.”

Cogan Residence, 1972

Built for investor Marshall Cogan and his wife, Maureen, this East Hampton commission was designed at a time when Gwathmey and Siegel, who joined forces in 1967, were grappling with expanding the possibilities of their geometric vocabulary to larger projects. In the end, they constructed a rectangular stained-cedar shell pierced with windows, and then artfully nestled their signature three-dimensional sculptural forms inside it. The result, according to a profile of Gwathmey, published in 1988 in the magazine Current Biography, was “a poetic exploration of internal volumes.”

Malibu Residence, 2000

When Paul Goldberger wrote about this residence in Malibu, California, for AD in November 2000, he said there was “something softer about Gwathmey Siegel’s architecture this time, something much more serene.” The firm envisioned the house as three lateral elements: a private entrance, a stairway, and a glass façade, pictured here, overlooking the Pacific Ocean. “You can see how everything is organized inside,” Gwathmey told Goldberger. The pool, he added, “looks like an extension of the interior, but at the same time it appears to float on the grass.”

Belvedere Residence, 2003

When hired to design this California house with a commanding view of the Golden Gate Bridge, Gwathmey said, “I realized I had to make the building a kaleidoscope for that amazing construction, and at the same time I had a responsibility not to be obvious about it.” What he wrought: a residence that spills down a hill, its four stories impeccably organized to exploit the panorama. “[The view is] perceived sequentially and through multiple planes, as in a Japanese teahouse,” Gwathmey explained. “You get it, you lose it, then you get it back again.” source

This weekend retreat sits on a flat, open 12 acre site in eastern Long Island. The clients, a mother and daughter, requested a low-maintenance residence that incorporated Westchester granite and great expanses of glass to take in views of the property.

Leroy Street Studio introduced dry-stack stone walls to unify exterior and interior spaces and to knit the compound together. The walls, linked by water features, provide a unifying texture and distinguish the private, southern-oriented arrival side of the buildings from the northern-facing curtain walls.

The mothers’ house is split into public and private wings by a gallery overlooking a sculpture court.  The public wing is a singular volume subdivided by wrapping roofs: the lower roof creates an intimate dining area and screened porch, and the upper one defines the entry vestibule and living room.
The daughter’s house is composed of perpendicular roof planes which over-sail the stone walls; and a taught box of oak glu-lam portal frames wrapped in a continuous skin of louvers.

The two buildings together create an abstract composition of planar materials which redefine the property as a series of internal and external courtyards spaces for the family. source

Detailed to weather the harsh alpine climate, this building occupies a steeply sloped site divided by an existing irrigation ditch.

Board-formed concrete retaining walls are cut into the earth to reroute the water and to support a sequence of stone boxes linked by garden courts and airy circulation spaces.

Wood-lined interiors are detailed to provide intimacy while opening up to the panoramic mountain views. Exposed steel trusses extend outside to protect the large windows from the strong southern sun.

The existing irrigation water is routed through a series of alternating intimate and dramatic gardens that culminate in a pond of the lower part of the property where the water resumes its course across the mountain.

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Sited on the edge of an open agricultural reserve, Leroy Street Studio sought to capture the qualities of traditional barn structures while developing a modern building responding to the site’s dramatic views.

The entry draws one through the building’s louvered skin into a two-story foyer overlooking a three story interior garden courtyard. The house’s public spaces are elevated to the second floor to capture the long views. The main space is an open living, dining and kitchen hall with a ceiling-scape of delicate three-dimensional hybrid wood-and-steel timber frame members and slot skylight above. A stone fireplace divides this hall from the outdoor, screened porch beyond.  An upper mezzanine opens to a rooftop garden connected to a study tucked into the rafters.

A translucent wrapper of louvers and rain screen siding unifies the various internal and external spaces. In all, five outdoor courts and garden spaces are unified under the single roof, giving the structure a double reading of complexity from up close, and simple monolithic harmony from afar.

When lit at night, the main house shines from within creating a gauzy translucence rarely seen in solid, volumetric structures.

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Taking color cues from the Arizona desert, this family room is transformed with color. Working with the client’s existing furnishings, color and texture combined with custom-designed pillows and sofa throw and a color palette of rust, golden yarrow, cream and green enliven and compliment the space.

An inspired seaside rental is dressed in color and artwork.

Adding red to a space is exotic as well as energizing.

Add drama to a room with the use of bold, graphic-printed fabric and the color red. This space is part of a great room and serves double duty as a TV area and formal living room. The fireplace and built-in bookcases anchor the space and serve as storage for a flat screen, AV components, books and accessories. The chairs, while they appear to be classic wingbacks, are also recliners perfect for TV viewing and relaxing. All design by Tina Mellino