#i need a banda book club

[iheartbanda]

HONESTLY. Even tho he had no time Bandas character had potential, that’s why I love him sm tbh. I genuinely feel like his character would’ve been so interesting to follow along, but at the same time i feel like it would ruin him as a character. theoretically, the reason Banda had such high importance in the Jack of hearts episode but no recognition in the rest was def to create mystery and suspension surrounding the background of his character. Since he is so mysterious.. when it comes to speaking on rank in intelligence most people don’t recognize how extraordinary he actually is. It’s so easy for him to disguise not only his emotions but also his characteristics using manipulative tactics that practically hypnotize his target. THIS is what drove me to him honestly. His end speech to the Jack made it obvious this was an easy game for him as well which truly makes me question how strong his abilities actually are. SORRY I HAD TO RANT.

[mirrorfurniturelivingwithlayla]

The Urban Dictionary Of Interiorsinvogue.Com New York Mirrored Furniture

Transforming London: The New Breed Of Designers at the Super-Prime

London's modern-day HNWs have different concerns and needs for their homes-- and fresh brand-new designers are stepping up to satisfy the difficulty with innovative approaches, composes William Cash.

Every years-- or generation-- London sees a brand-new type of interior designers or 'developer-designers' who stand out and consult with a visual voice, whose vision mixes easily with the architectural zeitgeist. While many HNWs have actually become aware of Candy & Candy (or at least their Monaco superyacht), Finchatton, or a custom company like Fenton Whelan, these 'designer brand name' firms are all now regarded as well established. To put it simply, they've made lots of cash establishing in London's super-prime market, which up until just recently was up 40 per cent because 2009.

However, following punitive stamp duty hikes, London's super-prime market is down 20 percent. 'Billionaires are shunning the London high-end home market, with sales of "extremely prime" ₤ 10 million-plus houses in the capital collapsing by 86 per cent over the past year,' the Guardian reported in October. The paper mentioned figures from Land Registry which exposed that just five properties were cost more than ₤ 10 million in the 3 months to August 2016, compared to 35 such homes in the very same quarter the previous year. Outdoors London, no property cost more than ₤ 10 million.

As constantly in the residential or commercial property development business, such price falls have created new chances for designers who are tuned into the mindset of HNW clients, and more notably are not caught economically with a slate of pricey super-prime tasks and advancements on their books. HNW customers looking to purchase 'off-plan' have various priorities-- such as desiring a two-bed lateral flat with sufficient entertaining area to host twenty for supper, rather than a six-bedroom ₤ 11.5 million super-home.

The previous few years have the emergence of several under-the-radar individuals who are transforming the guidelines of interior decoration and of what it indicates to create a designer 'brand name' today. Leaders include Katharine Pooley and Helen Green Design, which are following in the tradition of the great London interior designer brands such as Colefax & Fowler.

What is most striking about such renowned 'designer' brands is that, on the whole, clients pertained to them since they wanted their hallmark look. Colefax & Fowler originated what is known today as 'country home design', using a revitalizing mix of modern chic and timeless chintz that stripped away the cluttered gloom of Victoriana. But the brand-new breed of designers is moving far from the signature brand look. Instead, their customers want provenance, creativity, artisan-craftsmanship, eccentric architectural information. These designer-developers have a philosophy of style that transcends the aesthetic into the practical.

Edo Mapelli Mozzi of Banda is passionate about the stage set of contemporary metropolitan life. For each Banda project, 'designers, artisans and professionals are thoroughly picked to guarantee the homes we produce an interest the relevant market. We aim to surpass expectations in regards to the quality and service in the residential or commercial properties we deliver.'

Banda's acutely in-depth bespoke work reflects the most extensive aspirations of HNW clients today and society's altering architectural tastes and domestic design. Edo, who was brought up and educated in England, has actually embraced the title of Noël Coward's 1932 play Design for Living for his branding functions. 'At Banda, our homes are developed for life,'

he says.

With twelve years' experience, Edo and his group utilize their deeply embedded 'market intelligence' (i.e. relationships with representatives and purchasers' agents) to source eccentric homes, typically with some commercial heritage or architectural provenance. Using a team of 'artisan-craftsmen' and designers, the Banda principle is to only put its name to a development that has 'an original identity' and will 'make its own mark'.

The Banda Design Studio is unusual because it provides a really 'full service' experience for HNWs, from interior design to designer's designs, through to the dressing of all reveal apartment or condos within advancements. The most talked-about decorators of each generation are more than mere designers: they provide a window into the soul of our times and the Way We Live Now. Some 95 percent of Banda's work is 'speculative development'; the other 5 percent is a private commission or task work.

Edo has been developing 'character' properties in areas like Battersea, where he has actually had noteworthy success transforming an old bakeshop. 'A great deal of our business model has been producing prime lateral flats outside the conventional zone 1 location,' he states. He points out that in locations like Nine Elms most two-bed flats vary from 900-1,300 sq ft. Think kitchen area dinner for four-six if you squash around the table. 'So you can't captivate.'

His two-bed flats tend to be 2,000-3000sq ft. In one flat he had a 'bedroom that had his-and-hers dressing spaces, a substantial restroom with an amusing space where you might have twenty for supper or 40 for a beverages celebration. But it's a two-bedroom flat. And that doesn't exist on the market.' When Banda took these 'two-bed prime lateral' flats to market, all sold in 24 hours. 'We produced something that is not cookie-cut, is not what everyone else is producing.'

Edo says his client focus has actually always been based upon listening to what 'owner-occupiers' desire, instead of the sales pitch of representatives. 'We understand there is a demand from these sorts of downsizers, individuals in their early fifties whose children have actually matured, have actually left home. They require a spare bedroom however they don't need a five-bedroomed house anymore. However they still desire the space they had.' Many also have a home office space.

Another leading example of the leading brand-new breed of designer is Andrew Murray, founder of Morpheus London design. I initially fulfilled Andrew in May at the MIPIM exhibition in Cannes, where he had invited me to an exclusive lunch party. Andrew is also a co-partner (with Simon Davis) of the Rosebery, Britain's most exclusive double-decker personal box bus-- more like a private luxury yacht decorated like a Mayfair club than your normal bus.

I asked him how a designer today can get the balance right between being a luxury 'brand name' (like the Rosebery) and at the same time keep being unique and individual as a business with personal commission work. The answer is that Morpheus is rooted in craftsmen design work. His mom was an interior designer and his father 'very imaginative', and this is the common DNA style aspect to all its projects. Andrew began as a cabinet-maker and joiner, pretty much self-taught. 'This has been vital because I understand how things are made, and I understand how things should stream,' he states. 'So, originating from that craftsman background, the business progressed as my direct exposure to high-end home evolved.'

Andrew's vocation started at Canford School in Dorset, which had an outstanding carpentry department. 'I established my service when I was still at school,' he says. 'I decorated an office block when I was about sixteen and used individuals from school, which was quite enjoyable. So it progressed from there.'

Clients started asking him guidance on all aspects of the design task-- not simply the cabinet he was making. 'I realised none had a full service, and they were constantly at a bit of a loss. So they were having this charming piece of cabinets made, however everything else didn't truly match, and the arrangement of service wasn't there. It was really historical. It was really in the old school. And so I saw an opportunity to offer the sort of end-to-end service.'

Morpheus is now among the most sought-out design companies in London, with customers all over Europe (hence the trendy however discreet lunch party at MIPIM). It wasn't always so glamorous, though: his very first big project was the conversion of a large house in Stockwell in which the dance act KLF utilized to live. 'Then I ingratiated a designer in Mayfair who had a portfolio of 60 homes-- rentals. I was about 25 then, and I took control of the advancement management of their maintenance, archive, repair-- so it led from there.'

The next move was to develop his own aesthetic design-- putting the Morpheus imprint on tasks without them becoming more about Morpheus than the customer. 'I look quite at the function of area. Our designers do the interior decoration and the stylising, however I do the function, the flow, the purpose. Which was coming through extremely strongly then, and I think that's what caused success and led to growth.'

What makes Andrew the choice of magnates, UHNWs and City tycoons who want their houses to stand apart however also remain under the radar design brand-wise is his knowledge of who the absolute best craftspeople are. 'I can still go onto a website and state, "Actually, make it like that. It's a lot more business." So Morpheus is a design home, but we are also so much more than that-- we comprehend business truths. If a client states, "I've got 4 apartments that I want you to develop," I'm not even going to take a look at the style till I've comprehended the commercial service case. And I'm going to go, "Who's going to buy it? Why are they purchasing? What do they want?" And then that will lead the design.'

[edgarglassfurnitureage-blog]

Why We Love Interiors Invogue Prosecco Glasses (And You Should, Too!)

Transforming London: The New Breed Of Designers at the Super-Prime

London's modern-day HNWs have various priorities and needs for their houses-- and fresh brand-new designers are stepping up to satisfy the challenge with ingenious techniques, writes William Cash.

Every years-- or generation-- London sees a new type of interior designers or 'developer-designers' who stand apart and consult with an aesthetic voice, whose vision mixes easily with the architectural zeitgeist. While a lot of HNWs have actually heard of Candy & Candy (or at least their Monaco superyacht), Finchatton, or a custom company like Fenton Whelan, these 'designer brand' firms are all now regarded as well established. To put it simply, they've made lots of loan establishing in London's super-prime market, which up until recently was up 40 per cent given that 2009.

However, following punitive stamp task hikes, London's super-prime market is down 20 per cent. 'Billionaires are shunning the London luxury residential or commercial property market, with sales of "super prime" ₤ 10 million-plus homes in the capital collapsing by 86 per cent over the past year,' the Guardian reported in October. The paper cited figures from Land Registry which exposed that just five homes were sold for more than ₤ 10 million in the 3 months to August 2016, compared to 35 such residential or commercial properties in the exact same quarter the previous year. Outside London, no property offered for more than ₤ 10 million.

As always in the home development service, such cost falls have created new chances for designers who are tuned into the mindset of HNW customers, and more importantly are not trapped economically with a slate of expensive super-prime jobs and advancements on their books. HNW clients aiming to purchase 'off-plan' have different priorities-- such as wanting a two-bed lateral flat with sufficient entertaining area to host twenty for dinner, rather than a six-bedroom ₤ 11.5 million super-home.

The previous few years have the emergence of numerous under-the-radar people who are transforming the guidelines of interior design and of what it implies to develop a designer 'brand' today. Leaders consist of Katharine Pooley and Helen Green Design, which are following in the custom of the excellent London interior designer brands such as Colefax & Fowler.

What is most striking about such iconic 'designer' brand names is that, on the whole, clients concerned them since they wanted their hallmark look. Colefax & Fowler pioneered what is understood today as 'country house design', using a rejuvenating mix of contemporary elegant and traditional chintz that removed away the cluttered gloom of Victoriana. But the brand-new type of designers is moving away from the signature brand name look. Instead, their clients desire provenance, originality, artisan-craftsmanship, eccentric architectural details. These designer-developers have an approach of design that transcends the aesthetic into the practical.

Edo Mapelli Mozzi of Banda is enthusiastic about the phase set of modern urbane life. For each Banda task, 'designers, craftsmens and professionals are carefully chosen to ensure the houses we produce an interest the relevant market. We aim to exceed expectations in terms of the quality and service in the properties we deliver.'

Banda's acutely detailed bespoke work shows the most profound goals of HNW customers today and society's changing architectural tastes and domestic design. Edo, who was brought up and informed in England, has actually adopted the title of Noël Coward's 1932 play Design for Living for his branding functions. 'At Banda, our houses are built for life,'

he states.

With twelve years' experience, Edo and his team utilize their deeply ingrained 'market intelligence' (i.e. relationships with representatives and purchasers' agents) to source wacky properties, typically with some industrial heritage or architectural provenance. Using a group of 'artisan-craftsmen' and designers, the Banda idea is to just put its name to an advancement that has 'an original identity' and will 'make its own mark'.

The Banda Design Studio is uncommon because it offers a genuinely 'complete service' experience for HNWs, from interior design to architect's designs, through to the dressing of all show homes within advancements. The most talked-about designers of each generation are more than simple designers: they provide a window into the soul of our times and the Way We Live Now. Some 95 per cent of Banda's work is 'speculative advancement'; the other 5 percent is a private commission or job work.

Edo has actually been establishing 'character' properties in areas like Battersea, where he has had notable success converting an old pastry shop. 'A lot of our company model has been producing prime lateral flats outside the standard zone 1 location,' he says. He mentions that in locations like Nine Elms most two-bed flats vary from 900-1,300 sq ft. Think kitchen dinner for four-six if you squash around the table. 'So you can't amuse.'

His two-bed flats tend to be 2,000-3000sq ft. In one flat he had a 'bedroom that had his-and-hers dressing rooms, a big bathroom with an amusing area where you might have twenty for dinner or 40 for a drinks party. But it's a two-bedroom flat. And that doesn't exist on the market.' When Banda took these 'two-bed prime lateral' flats to market, all sold in 24 hours. 'We produced something that is not cookie-cut, is not what everyone else is producing.'

Edo says his client focus has actually constantly been based on listening to what 'owner-occupiers' desire, instead of the sales pitch of agents. 'We know there is a need from these sorts of downsizers, people in their early fifties whose kids have actually grown up, have left home. They require an extra bed room however they do not need a five-bedroomed home anymore. However they still desire the space they had.' A lot of also have an office area.

Another leading example of the leading brand-new type of designer is Andrew Murray, founder of Morpheus London design. I first met Andrew in May at the MIPIM exhibition in Cannes, where he had invited me to an unique lunch celebration. Andrew is likewise a co-partner (with Simon Davis) of the Rosebery, Britain's the majority of unique double-decker personal box bus-- more like a personal yacht embellished like a Mayfair club than your typical bus.

I asked him how a designer today can get the balance right between being a high-end 'brand name' (like the Rosebery) and at the very same time keep being unique and private as a business with private commission work. The answer is that Morpheus is rooted in artisan design work. His mother was an interior designer and his father 'very innovative', and this is the common DNA design aspect to all its jobs. Andrew started as a cabinet-maker and joiner, basically self-taught. 'This has been vital due to the fact that I understand how things are made, and I know how things must stream,' he says. 'So, coming from that craftsman background, the company developed as my exposure to luxury property evolved.'

Andrew's occupation started at Canford School in Dorset, which had an outstanding carpentry department. 'I set up my service when I was still at school,' he states. 'I embellished a workplace block when I was about sixteen and utilized people from school, which was quite enjoyable. So it evolved from there.'

Customers started asking him suggestions on all aspects of the style job-- not simply the cabinet he was making. 'I realised none had a complete service, and they were constantly at a little bit of a loss. So they were having this charming piece of cabinets made, however everything else didn't really match, and the provision of service wasn't there. It was really historic. It was extremely in the old school. And so I saw a chance to offer the sort of end-to-end service.'

Morpheus is now one of the most sought-out design firms in London, with clients all over Europe (for this reason the stylish but discreet lunch party at MIPIM). It wasn't constantly so attractive, though: his very first big task was the conversion of a large home in Stockwell in which the dance act KLF utilized to live. 'Then I ingratiated a designer in Mayfair who had a portfolio of 60 apartments-- rentals. I was about 25 then, and I took control of the advancement management of their maintenance, archive, repair-- so it led from there.'

The next move was to develop his own aesthetic design-- putting the Morpheus imprint on tasks without them becoming more about Morpheus than the client. 'I look quite at the function of area. Our designers do the interior design and the stylising, but I do the function, the flow, the function. Which was coming through really highly then, and I believe that's what caused success and caused growth.'

What makes Andrew the choice of moguls, UHNWs and City tycoons who desire their homes to stand out however also stay under the radar design brand-wise is his knowledge of who the very best craftspeople are. 'I can still go onto a website and state, "Actually, make it like that. It's much more industrial." So Morpheus is a design house, but we are also so much more than that-- we understand commercial truths. If a client states, "I've got four homes that I want you to design," I'm not even going to take a look at the style till I've understood the industrial organisation case. And I'm going to go, "Who's going to purchase it? Why are they buying? What do they desire?" And after that that will lead the style.'

[a-h-arts]

Timothy Brook, "Vermeer's Hat" Of course it's not really about Vermeer's hat--or Vermeer's fruit bowl or the two sturdy ships moored together at the right edge of Vermeer's "View of Delft." The subtitle gives it away: "Dawn of the Global World." That's what it's about; the other things are objects in the paintings, props or, as Brook likes to call them, the "doors" that open up in the paintings and let their confined domesticity escape into the outer world and the fresh air of innovation and discovery flow back in, rather like the window that partially frames the hat in the painting. We don't expect detailed art history from this book; Timothy Brook is not an art historian but a distinguished historian of China and Shaw Chair of Chinese Studies at Oxford University. It is as such that he approaches the material; a historian of Europe or of Western Art would have viewed the international cultural and commercial exchanges he analyzes as European exports to the global community, whereas Brook tends to view them more as imports from Europe. Finally, of course, it is interactivity that makes of globalization a two-way street, as symbolized by that open window and all the other open windows and doors in seventeenth-century Dutch painting. So, in a sense, the book IS about Vermeer's art after all; the presence of the hat, bowl, and other "doors" in the pictures is a result of the Dutch Republic's central position in that process of globalization and indicate the source of the enormous commercial wealth that was its foundation. Without that position, Vermeer's paintings would not have been Vermeer's paintings, because his world would not have been what it was. There is not a lot of hard-core art history here, but after reading this book, we will no longer be able to look at the Frick's "Officer and Laughing Girl" naively, i.e., without knowing that the man's wonderful hat was made possible only because Samuel Champlain was just then trying to find a Northwest Passage and able to finance his explorations by sending tons of beaver pelts back to Europe. And those are not just generic "boats"; they are herring busses manufactured for herring fishing in the North Sea, moored here in Delft for refitting or repair, and thus appropriate symbols of the maritime origins of Dutch prosperity (and the fortuitous nature of all commercial prosperity)-- for if the most generally calamitous event of the seventeenth century, the so-called "Little Ice Age" of 1550 -1700, had not caused extensive freeze-up of the Norwegian coastline, and pushed the traditional base of the herring fishery south to Baltic waters controlled by the Dutch, that little windfall might not have developed into the financial foundation of a bourgeoisie sufficiently prosperous to afford fashionable hats and the paintings of them. The book is filled with unexpected insights and suggestions like that, and as they are quite imaginatively and indelibly presented, they should henceforth inform our viewing of these paintings. Go to Amazon

Vermeer's Hat This is a great read. I love old maps, and an old celestial globe I have seen at the Australian Maritime Museum, and Vermeer features maps and navigational aids in several paintings. Climate change is mentioned.. sending the herring south to the North Sea where the Dutch used science and maths to do things with wind power. They weren't held back by religious constraints. The rise and rise of the Dutch could be a blue print for a developing country. Dutch affluence was based on Navigation. Vermeer's paintings are used as a portal into other issues.. cleverly. Some chapters were not so interesting to me, but Timothy Brook makes broad comparisons across the globe, not just Europe... ie Blue and white ceramics in China and in Delft in Holland. As a scuba diver travelling to Indonesia this joins a lot of dots for me as I travel to the Spice Islands and to the VOC headquarters on the island of Banda. Also read Deadmen's Silver about Dutch ship wrecks on the West Australian Coast. Go to Amazon

The title is not quite what it might be [I wish the work had been called something more like Vermeer's Netherlands meets the Orient or perhaps something similar, but a bit more advertising-like.] Go to Amazon

A Hat, a Chinese Bowl, Tobacco - History! I'm very interested in Art History, so I purchased Vermeer's Hat in the expectation that it was all about art. I soon found out that it is actually a history book, brilliantly tied to various paintings by Vermeer. You look at the painting of the cavalier in the beaver hat. BOOM! You're transported to the encounter between Champlain and North American Indians - it's all about the fur trade that provided the beaver furs that were sent to Europe to make hats for people like the cavalier in the painting. And so it continues - How did iconic blue and white china make its way from China to Delft - and subsequently get copied to create Delftware? It's all about the opening of global trade in the 17th century and it's fascinating. LOVE IT! Go to Amazon

A novel take on history Had to buy the Kindle version as I needed to read it quickly, before a book club meeting. I was a bit worried by the reviewers who said that the whole premise of the book was to look behind the paintings of Vermeer, for which it was natural to have to have a copy of the painting in question to look at, but that the Kindle edition didn't include the illustrations from the paper edition. However, I was pleased to find that when I got my download there were in fact pictures of all the paintings being discussed; OK, they were rather small and in grey-scale, and I ended up going online to look at good coloured copies, but at least I knew I'd found the right thing. Hence my 4- star rating, the book iself is a very interesting take on narrative history, showing aspects of trade development and world affairs from a new and different perspective. Well worth reading if you're interested in how societies develop and interact. However, if you're not in a tearing hurry to read it I suspect the plates in the paper edition are easier to refer to and it's worth choosing that even if you have to wait for it to be delivered. Go to Amazon

Amazing book. No art in a book about an artist?! (Kindle) Consider the entire title The book is fine, however Five Stars Great Four Stars Five Stars A Valuable and Enjoyable Book Five Stars

[namivaguese]

i decided to make a proper intro post eventho this blog is old asf just bc idk im lonely and i need friends,,,love me,,,

i’m nami, 16, and i live in jakarta. i’m a social science student and i’m really interested in politics (especially marxism) and philosophy. i’m also a muslim feminist hijabi (my feminism kinda differs from western feminism tho since i live in a developing country and there’s still a lot to fight for) and i would love to talk about politics/feminism/islam in general!! just drop me a msg. 

this blog isn’t really a studyblr tbh this blog is a mess and i pretty much reblog and post what i like here (my original posts are tagged mine and my selfies are tagged gpoy).

here’s a list of my favorite things;

music: indonesian indie bands (barasuara, banda neira, dried cassava, indische party, stars and rabbit, tigapagi, payung teduh, etc), florence+the machine, regina spektor, bombay bicycle club, vampire weekend, the wombats, queen, the beatles, foster the people, lorde, alessia cara, troye sivan, patti smith, idk there’s more but mostly those.

books: 1984 is my fave!!! i also like kazuo ishiguro and haruki murakami’s books. idk i nowdays mostly read contemporary novels and i don’t even keep track of what i’m reading anymore.

movies: disney movies, any wes anderson movie, blue is the warmest color, amelie, carol, submarine, hacksaw ridge, her, saving private ryan, pulp fiction, predestination, arrival, whiplash, the hunger games series.

tv shows: nowdays i only watch mr. robot and orange is the new black. i’m not much of a series person anymore i’m sorry guys

yo that’s all. feel free to follow me and/or like/reblog this post and i’ll check your blog!! 

thanks for reading; i hope yall have a wonderful day (or night).

(ps: i don’t capitalize my letters bc i hate capitalism)

[highlandclans]

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[iheartbanda]

such a Banda thing to say!! Baes form of being romantic fr.

[iheartbanda]

Guys as a society i feel like we don’t talk abt him enough