Choosing Bedroom Colors for Your Walls:

There are certain factors that should be considered before choosing the bedroom wall colors, which include, the size of the bedroom and the type of furniture used in the bedroom. Colors play very intense and immediate effect on human psychology. So, the first and foremost thing that should be understood, is the color psychology. Since a bedroom decor aims at providing a comfortable and cozy environment, the colors for bedroom walls should be chosen accordingly.

Every color has its unique effect on the human mind and hence, it is necessary to choose the wall colors carefully. A wrong choice of wall color can end up giving you an unpleasant bedroom decor. Other than the effects of psychology, every color produces different visual effects. For example, certain color can make the room look brighter and larger than its original size, while some colors can make the room look smaller.

Black, white, blue, green, red, yellow, orange and purple, are most common colors used for painting walls. One of the simple bedroom wall color ideas can be to paint the walls with white color. White is a perfect color to create a soothing ambiance in the bedroom. Moreover, it reflects light and creates makes the room look airy. Black on the other hand can be too dark for bedrooms and can make the room look very small. Black also darkens once emotional state and hence, is not a good color for bedrooms.

A combination of black and white in different patterns, can surely give a nice modern look to your bedroom. Blue and green are two colors that can bring calmness in your bedroom. It is said that blue color suppresses your cravings for food, since there are not many blue colored eatables in nature. Colors like red and yellow are very bright and should be avoided, since they can cause hindrance to falling asleep. 

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1. Better adhesion. The superior “binder” in these paints helps them grip any surface.

2. Better hiding capability. Top quality paints can often conceal the color below in just a single coat, saving the time and money needed to apply a second coat of paint.

3. Better spatter resistance. These paints are less likely to throw off flecks of paint while you’re applying them.

4. Better flow and leveling. Top quality paints go on evenly; brush and roller marks tend to flow out and become unnoticeable.

5. Better touch-up. If you have to touch up your paint job at a later date, it won’t be noticeable when using a top quality paint.

6. Better stain resistance. These paints tend to keep dirt and grime from sinking in, making for easy cleaning.

7. Better scrub resistance. Even if you have to scrub hard to remove a stubborn stain, top quality paint is tough enough to take the scrubbing without damaging the surface of the paint.

8. Better burnish resistance. Lower quality paints get shiny when they’re scrubbed; top quality paints have less of a tendency to do so.

9. Better block resistance. Ever notice how it’s hard to open a window after it’s been painted? Top quality paints are less susceptible to sticking. 

10. Better print resistance. Windowsills and other face-up surfaces can be imprinted when objects are placed on them. When painting horizontal surfaces, use of a top quality paint in an eggshell (rather than a glossier) sheen will minimize this problem.

11. Better mildew resistance. If you don’t like mildew, don’t compromise on paint quality.

12. Better fade resistance. You’ll probably sweat bullets choosing just the right paint color. Make sure your color lasts by using a fade-resistant top quality 100% acrylic latex interior paint. 

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Pentominium - unusual house of the future and probably a new wonder of the world, which will become a new landmark in the real estate of luxury and one of the tallest skyscrapers in the world. It is built in the prestigious world-renowned area of Dubai Marina, overlooking the serene Arabian Sea and the tallest - 120 floors - and most luxurious apartment building in the world. Mr. Wazir Darediya, Executive Director, Trident International Holdings said that we decided to expand the boundaries and create the concept of an ideal place of residence, which would be a "luxury at altitude.

The Pentominium is a supertall skyscraper currently under construction in the city of Dubai, United Arab Emirates. When completed, the residential tower will be 516 m (1,693 ft) tall, with 122 floors above ground. It was designed by architects Aedas and funded by Trident International Holdings. The AED 1.46 billion (US$400 million) construction contract was awarded to Arabian Construction Company (ACC). The Pentominium has one of the deepest excavation done in the world, performed by Swissboring Overseas Piling Corp. Construction commenced on 26 July 2009 and the building is expected to be completed in 2013. As of 20 November 2010, 4 floors have been completed. When completed, Pentominium will become the second tallest building in Dubai after Burj Khalifa, and one of the tallest residential tower in the world.

The word Pentominium is a portmanteau of the words penthouse and condominium. Each residential floor will have just one 4-bedroom apartment of over 600 square metres (6,500 sq ft). Ameneties available to residents include a swimming pool, an observation deck, a private cinema, a health club and a banqueting hall, along with a cigar lounge and a business centre.

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Key components of Asymptote’s design are two elegant towers, a sculptural terminal hall that is framed and hovers in an elevated position between them, and a platform that connects the towers below and accommodates a new public urban space. The port terminal is designed to invigorate the city’s waterfront and connects this new urban space with the creation of the future Pop Music Center and other public recreational and commercial activities that are to be located along the planned park.

Bateman’s Row, London by Theis and Khan
Furzey Hall Farm, Gloucestershire by Waugh Thisleton Architects
Leaf House, London by James Gorst Architects
Hunsett Mill, Norfolk Broads by Acme
Martello Tower Y, Suffolk by Piercy Conner Architects with Billings Jackson Industrial Design
Zero Carbon House, Birmingham by John Christophers

The RIBA Manser Medal is chosen from a list of the best RIBA Award winning houses and given to the best one-off new house or major extension designed by an architect in the UK. The winner will be announced at a prestigious prize ceremony at the RIBA on 11 November 2010 and will receive a new trophy commissioned by HSBC Private Bank and an increased prize fund of £10,000.

Previous winners include Pitman Tozer Architects for The Gap House (2009), Rogers Stirk Harbour + Partners for Oxley Woods (2008) and Alison Brooks Architects for the Salt House (2007).

Judges for this year’s award are: Michael Manser CBE, HSBC Private Bank’s property expert Peter Mackie, Managing Director of its Property Vision subsidiary, architects Luke Tozer from Pitman Tozer and Deborah Saunt from DSDHA and RIBA’s Head of Awards Tony Chapman.
Ruth Reed, RIBA President, said:

“Designing houses for private clients is always a great opportunity for architects –especially new or smaller practices – to make their name. Yet it is one of the hardest things to get right. On such personal projects the client is understandably very demanding and will have an idea of where they want to end up even if they are not quite sure how to get there.  When the relationship works the results can be astonishing – as this list shows. All of the shortlisted buildings worked within very close constraints – of heritage, space or money to produce the fantastically varied shortlist that we have today.”

Declan Sheehan, Chief Executive Officer of HSBC Private Bank, said:

“The RIBA Manser Medal is a leading accolade for architects of new houses in the UK and highlights our global support of excellence in design. The skill, innovation and creativity demonstrated by the shortlisted architects is inspiring, and something that HSBC Private Bank is delighted to be associated with.”

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Bittersweet chocolate walls need white furnishings and furniture to balance the look of the room.

Black and white color scheme has a clean and classy feel when used on floors, walls and furniture, in stripes or checks.

Blue and white room reminds us of sky and water bodies and are quite serene to look at.

Colorful table linens, food, flower and napkin arrangements, all seem to get more attention when the dishes, plates and cups are white.

Green and white remind us of gardens and wilderness. Bluish green may add a touch of undersea environ while lime green instantly makes the room look cool and funky.

Lighter tan hue or pale sandy tone for the walls look even better with white moldings.

Orange citrus hue with white in a room looks quite tempting while kids love combination of purple and white.

Pastels such as light pink, yellow, pale green, baby blue and aqua with white moldings and trim look absolutely lovely.

Red and white theme Decor featuring strawberries or touches of dramatic blacks, aquas or hot pinks, is just perfect for holiday decor.

Today, white has gained a new status and popularity in the hands of creative interior designers who break the clinical dull monotony of hospital-like white room with astounding use of colorful furnishings and accessories such as fresh flower arrangements and patterned bedsheets, pillows and coverlets. Add colors to the room daily that seem to stand out against the white background.

White is considered the most popular neutral color and was almost a default color for walls, ceilings and bed sheets in older times.

You may replace the harsh blinding white with softer ivory, beige and cream tones for the perfect look.

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the 13.8m chandelier uses lengths of fluorescent tubes encased within double acrylic cylinders; the inner layer is frosted to soften the light while the outer layer is etched with a ringed pattern that catches the light. each fluorescent section is separated by shorter sections of frosted glass rings uplit with leds to add sparkle and introduce variation along the length.

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Working with white home decor can be a very effective way to create a distinctive look that you want for a room in your home. Gone are the days when stark white was associated with institutions or sterile environments. More and more people are opting to go with implementing white home decor in the look of their homes to create a dynamic and dramatic look.

Contemporary decor asks for the minimal in color but maximum in texture and form. Above are some great examples of high texture in pure white. Play with your home palette by contrasting smooth and shiny with matte and textured objects. From the floor to the ceiling you should be exploring texture. Consider whitewashed barn wood floors and antique furniture with hits of new and contemporary plastic or ceramic pieces. Here are some tips to use white in home decor:

Shades of White for Decorating Your Home:

Snow White:

This is the most reflective of all whites capable of dazzling and disturbing the eyes. It is also the most popular, versatile, useful and least expensive paint on the market. This is the paint to reach for when you move into a new house or apartment and want to start afresh. It allows you to see the proportions and make decorating decisions with clarity. Snow white is the perfect color to blend with other colors as it reflects the top coat’s color back at itself to give it maximum intensity.

Ivory White:

Ivory is a mellow white, easier on the eyes and more flattering than bright white. Natural ivory yellows with age, and the name is applied across a range of warm, pale shades of white. Ivory reflects any incoming light and instills warmth. Use it with muted colors such as Prussian blue.

Butter Cream:

This rich, yellowy, creamy color was the most popular color for interior woodwork during the Edwardian period, when light colors and pretty patterns replaced the gloom of the late Victorian years. Now it is most often used as part of the country decorating palette, in which shaker style and historic colors combine in harmonious simplicity.

Cream:

Cream is a neutral white with a slightly yellow cast. It is a classically elegant color in a modern setting. Cream has a warming effect even on stark, minimalist interiors. It mixes well with pale gray, stone, suede and chocolate browns.

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A fine hotel is more than just a comfortable place to rest your head and an escape from the norm. (A Ramada delivers that much). So what makes a hotel truly great? To flesh out an answer, we asked ten designers (a discriminating and worldly bunch) to name their favorite hospitality spaces. The answers vary aesthetically and geographically, but they all have one thing in common: a strong connection to place, whether it’s Fasano’s rooftop pool overlooking Ipanema Beach and the surrounding favelas in Rio, or the Old Hollywood feel of the Fountain Coffee Room at the Beverly Hills Hotel. Not only do these hotels reflect their physical locations, but they immerse their visitors in local ritual: at Tawaraya, in Kyoto, guests are invited to soak in a predrawn bath with views of a Japanese garden; at La Tourette monastery in France, boarders receive a silent greeting from a robed monk. Together, the following pages speak to a craving for authenticity in a globalized age. —B.L.

Jamie Drake on the Mandarin Oriental, Barcelona, Spain
The entry of the new Mandarin Oriental Hotel in Barcelona is pure drama. A veritable catwalk ascends from the street, bringing you up slowly and grandly to reception. Totally contemporary, the design by Patricia Urquiola finds amazing visual corollaries between its subtle Asian devices and classic Spanish ones. Once you reach the lobby, the space opens up to a sunken dining room viewed through glass walls. Dreamy and poetic, the rooms and bathrooms are sublime as well. -P.M.
Designed by Patricia Urquiola
Built in 2009

Gregg Pasquarelli on the Hotel Fasano, Rio de Janeiro, Brazil
My absolute favorite spot of the last five years is the Hotel Fasano, in Rio—a very nice, high-end, boutique hotel. It’s right on Ipanema Beach, which in and of itself would be great, but the best part is the rooftop pool, which has a double-infinity edge facing the ocean and the beach. At night, it’s just incredible: the ocean is lit up from the beaches, the favelas are twinkling in the mountains, and Christ the Redeemer is floating above you. -B.L.
Designed by Philippe Starck
Built in 2008

Kit Kemp on La Posta Vecchia Hotel, Ladispoli, Italy
La Posta Vecchia is the perfect prelude to Rome. After a day of sightseeing, you return on a twenty-minute train ride, arriving in a very sleepy town. The hotel is a grand, beautiful old house by the sea and such a contrast to the bustle of Rome. Here you can enjoy the simplicity of bicycling around the vegetable garden, or lie in your bed and listen to the sound of crashing waves. The atmosphere is relaxed and unhurried. The shuttered windows open out onto the sea—and, in fact, you can hear the ocean from almost every room in the hotel. The room is warm and rich, with a smattering of 16th- and 17th-century furniture and a wonderful oak ceiling. Jean Paul Getty once owned the hotel, giving the suite its somewhat incongruous name and faint whiff of nostalgia. -M.P.
Built in 1640

Rene Gonzalez on the Witt Istanbul Hotel, Istanbul, Turkey
I love staying in hotels. The perfect place for me is a small to medium-sized place. All the hotels I enjoy have a lot of light and are lofty. In other words, I don’t like hotel rooms. When I’ve stayed in suites that have a living room and separate bedroom, I found it uncomfortable and kind of a waste of space. That’s why I love the Witt Hotel, in Istanbul, which has a little sitting area and, of course, a bed, but it is all open, like a loft, with an amazing terrace where you can see the city and hear the call to prayers, which is just magical.
A hotel room should have a connection to its place—whether that means staying in a great neighborhood or looking out at an incredible vista. In this case, we were in the Cihangir neighborhood overlooking Istanbul. I search out places that are richer, where you’re able to see real people, get a sense of the way the locals live, and feel like you’re closer to them. Whenever possible, I go with people I know and hang out with people that live there. That makes all the difference in the world. -P.M.
Designed by Autoban
Built in 2008

David Rockwell on the Hotel Cipriani, Venice, Italy
This is a case where context is everything. You’re in Venice, surrounded by the city, but you’ve taken a boat to get here, which is part of what makes the city so amazingly surreal. Whenever I visit Venice, I always think about water before getting there: the water taxis, the gondolas, the bridges, the lagoons. But when you’re there, and you’re reminded again that that’s how people really get around, it’s almost impossible to take in. And this enormous pool is set on the lagoon in the midst of unbelievable gardens, so when you’re in that space you’re both part of the city and removed from it. It’s such an incredible contrast. The city is so dense that having the release of this space, with the city around it, magnifies its impact. The scale of the pool, which is almost Olympic size, combined with the gardens, the lagoons, and the domes and spires of Venice beyond—I think it’s one of the most magical places in the world. -M.P.
Built in 1958

Frank Clementi on La Tourette monastery, Eveux sur Arbresle, France
When you’re traveling in Europe as an American architect, there are these points you’re expected to see. They become like pilgrimages to holy places. A lot of times the effect isn’t worth the effort; you check the building off the list and go on to the next one. But Corbu’s buildings were not like that. They were all really hard to get to and all really amazing once you got there. Even the way you approach the monastery is so different from that of a traditional hotel experience. When you go to what in other places would be called “reception,” you’re greeted by a guy in a robe (and he’s not on his way to the pool). You’re always a little bit unsure: Does he carry my bags or do I? Maybe that’s why that place works so well and forces itself on you. Not because it’s so assertive architecturally but because you’re so unsure of how to interact with it that you’re more aware of everything about it. Corbu’s monastery has this remarkable way of relating the interiors to exterior vistas. The most significant space is the courtyard and the simple stone cloister that focuses one’s attention inward, rather than out to the countryside. Corbu did an amazing job of let-ting the landscape on this hillside roll underneath this courtyard, so that the monastery actually hovers above the landscape. Another interesting aspect of the building: in the fifties, there was already a green roof, and no one made a big deal about it. -B.L.
Designed by Le Corbusier
Built in 1953-60

Richard Meier on Claridge’s, London
First of all, the service is impeccable. I don’t go there that often, but they still address me by my name, so immediately you feel like you’re in a grand hotel. And what’s nice about the dining room is, it’s really an extension of the lobby. There’s a feeling of openness, activity. It’s a social space. You’d much rather have your breakfast here than in your room. Architecturally, it’s not what I would think of as a great space, although it has nice proportions. It’s sort of decorated, and a little bit overdone, but I always prefer to stay in places that I could never have designed. -M.P.
Designed by C. W. Stephens
Built in 1898

Roman Alonso on the Fountain Coffee Room at the Beverly Hills Hotel, Beverly Hills, California
The Fountain Coffee Room at the Beverly Hills Hotel was designed by the architect Paul Williams during the 1949 renovation of the hotel (which was originally built in 1912 by Elmer Grey). What I love about it is that it’s basically a time capsule. It’s protected by landmark preservation, as is the exterior of the hotel, so they couldn’t ruin it like the rest of the hotel in later renovations. It’s been restored but not changed. So you have the same wallpaper and counter and chairs and menu! It’s a really small room tucked under the stairs, only like twenty seats, which makes it private and intimate, so a lot of the regulars are old movie stars and characters that live in Beverly Hills and come for breakfast and lunch. High kitsch value. The curved counter is great for sight-seeing and eavesdropping. It’s just pure old-school Beverly Hills. The decor is perfection: the green-and-white-and-pink color scheme, the banana-leaf wallpaper, the old Formica countertop and wrought-iron high stools. It’s heaven. Plus, the banana split is the best, and you can still get a real Orange Julius (fresh squeezed orange juice and vanilla ice-cream shake). -P.M.
Designed by Paul Williams
Built in 1949

George Yabu and Glenn Pushelberg on Tawaraya, Kyoto, Japan
When you cross the single step of carved stone in this traditional Japanese inn and onto the tatami mats, it’s as if you entered another world. You take off your shoes and you’re given corridor slippers. We love the old ritual as well as the sense of order. You’re greeted by an elderly woman in a kimono, who escorts you to your room. She is your rent-a-mom who takes care of you for the duration of your stay. She draws your bath for you. But what’s interesting, as a designer, is the convertibility of the room itself. When you arrive, it’s set up as a living room. When you come back later, it’s set up for dinner, and, later still, for bed. This whole notion of design in this convertible room is something hoteliers today have tried but not that successfully. There are different ways to do it today that aren’t furniture-driven—through lighting, for instance, or panels that open up, slide, and pivot to change the mood or feeling of a room. But here, this notion is expressed in the form of a grandmother, who, as soon as you leave the room, is rearranging the deck chairs so that the space becomes something else when you come back. -B.L.
Built in the early 1700s

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