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Home Design & Decor Magazine Austin-San Antonio is published by Big City Publications, . owner provided the interior design and greatly influenced the. Featured projects, walk-throughs, products, news, and more from the issues of Interior Design magazine. Workshop Mark R. Sullenberger, Richard B. Radcliffe. Custom Design Concepts Architecture + Interiors. Merle Thorpe. Merle Thorpe Architects.


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A large archive of magazines from Interior true PDF, download and read magazines online. Coveted Magazine in cooperation with Covet House Group accepted the personalities in the most creative and innovative industry, the interior design world. INTERIORS SUBSCRIPTIONS AND BACK ISSUES Receive 12 Postmaster: Send address corrections to 'The World of Interiors' c/o Mercury Airfreight International Ltd Inc, THE WORLD OF INTERIORS MAGAZINE.

SPG Architects modified the layout and provided interior design services to create a Follow by Email modern backdrop to these dual functions. The client desired a Submit thoroughly modern interior, expressed here with bold color in the family areas and refined, muted SpotLight tones in the formal areas. Read Complete Home Design Help Articles from Here Posted by Interior design, interior decorating, home interior design, interior decorating ideas, interior design trends, interior architecture at 8: Modern aparment and Interior Design Reactions: This Fire Island house is located directly behind beach-front dunes. The home is in three interlocked volumes.

One gets the sense that Kitty, given the opportunity, would happily do the same. It is, by her own account, a remarkable place. And Kitty, an artist, is in good company with such a thought. In Turner toured Yorkshire and stopped off in the Dales, his eye for drama falling on nearby Kilnsey Crag three miles down the road. And just over the way is Malham Cove. Kitty has been painting this wild country as a full-time artist for 28 years. She was born in Kirkby Lonsdale, not far away on the edge of the national park.

At 13, having made her first landscape of the Ingleborough peak from her bedroom win-. The retired Robinson had lived in this house from the late s until his death in , after which his wife had stayed until hers.

Now, very little remains of the old and rather dated interior. The finished house is a picture of cool, calm comfort. Colour is, for the most part, either muted the loudest walls a pearly blue or contained — a mustard-yellow trunk here, an Edwardian chair covered in mossy velvet there.

So what made her max it up? Because really as an artist what you want is nice white spaces to hang work on. At least one of her canvases hangs in every room, ranging from swirled abstracts to huge stormy landscapes with oil as thick as an Auerbach. The latter look particularly sensational — and all the more poetic if you manage to simultaneously glimpse an echo in the imposing landscape behind the windowpane.

Canvases here are hitched up on makeshift rails, and the table is so caked with years of paint you feel a cross-section might reveal an undiscovered Yorkshire fossil. Her latest show, Daring to Dream, celebrating nearby Salts Mill — a Victorian textile factory built by Sir Titus Salt — was completed entirely in acrylic.

One wonders if her other studio, a long low oak-andglass pavilion running along one side of the lawn, looking towards the brooding brow of a hill, might have something to do with embracing a more manageable medium. The remit was brief but stringent — make it warm. I really do. For opening times, ring , or visit saltsmill. To contact Kitty North, ring , or visit kittynorth.

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The solution was non-reflective lighting above her worktables custom-designed by Terry Makin , and track lighting under which to display finished work both by Erco. Aliette Boshier investigates the artifice of disrepair. Ricardo Labougle. Ancient marble statues occupy niches in the gently curving walls of the cryptoporticus, as if urging the visitor on to what lies just out of sight. This page, clockwise from top left: To Count Carlo Castone della Torre di Rezzonico, the quiet Arcadian corner of the newly created English Garden at Caserta seen here entranced the senses when he visited it in Though the scene was not yet graced by its statue of Venus, he described with breathless delight a hidden pool along whose banks thronged weeping willows, holm oaks, maidenhair ferns, succulents, peonies and dog roses.

As if to complete the enchantment, here too was the ruin of an ancient nymphaeum, its fractured roof letting light and the elements onto the carved statues in its walls. Campania felix was the Roman epithet for the region of Naples, a land warmed by the sun from above and the caldera below. If ever a garden were to flourish, it would be here. On surveying the endless grounds at Caserta, some 30km away from the tumult of the city, he understood what it was that it lacked.

Through the far-reaching vision of architect Luigi Vanvitelli and, later, his son Carlo, the Reggia di Caserta became the dazzling swansong of the Italian Baroque: That her sister Marie Antoinette had remodelled the gardens of the Petit Trianon in the English style exemplified its growing popularity in Europe. It was a question of good taste as much as sibling rivalry. Hamilton wasted little time in petitioning Sir Joseph Banks for advice and by April of the following year, , the brilliant Anglo-German botanist John Andrew Graefer had arrived from London.

Situated at the northeastern extremity of the vast site, its dense woodland, rolling meadows, hidden ruins and rock-hewn paths were the magical synthesis of sublime, unfettered nature and a yearning for the picturesque. This was a vale of delights, a place for the king to disport with the dame di corte, and the queen to imagine herself the discoverer of lost civilisations.

Deep at the heart of the garden, concealed from view by banks of Monterey cypress, laurel and cedar, in the basin of an old tuff quarry, Vanvitelli built the queen a semicircular structure of ancient bearing imbued with an air of mystery and cult. It is a painted capriccio come to life. At each end of the barrel-vaulted ceiling and throughout are artificial fissures hung with vines, with strawberry trees, Jerusalem thorn and amarella beyond. Three openings along the inside of the curve throw light onto columned aedicule recesses in the back wall; the central one holds a Roman bath.

This picture of classical harmony is complemented by the presence of 11 statues arranged in the niches along its walls. A partial inheritance from the Farnese collection, their subjects include a Venus Pudica and the Emperor Augustus. Here, in this small pantheon of gods and rulers, one senses the existence of another, more intangible legacy: While some scholars have advocated an esoteric reading of its iconology, the cryptoporticus is better understood in the context of the wider garden as a place of rich and varied sensory experience.

Just beyond its walls is perhaps the greatest wonder of all, the solitary statue of Venus that gives its name to this part of the garden — il Bagno di Venere. Carved in by Tommaso Solari, she was placed here by Vanvitelli in the early 19th century, close to the site of a great yew from whose roots appears to bubble the source of the pool and lake beyond. As though surprised in the moment of emerging from her ritual bath, the goddess adopts a crouching, fugitive pose.

The vicissitudes of man have played their part as well, with the heyday of the 19th century giving way to a steady decline in its fortunes, until a complete restructuring by the Soprintendenza di Caserta in restored the English Garden to its former glory. Nevertheless, time and the elements have only served to heighten its air of quiet inscrutability. The creeping damp of the cryptoporticus and the broken hands of Venus signal a decline inherent in its creation.

For opening times, ring 00 39 , or visit reggiadicaserta. Inside is a heap of feathers. Against the back wall, two beehives are perched upon piles of boxes. Between them is a 2. His studio in a Hausmannian building in Paris is similarly surreal: Deidi von Schaewen. Displayed upon it is a gypsy accordion. A Surrealist face, with a seed and a shell for eyes, a stick nose and a model of a Peruvian boat from Lake Titicaca standing in for a smile, has been composed on the seat.

The backrest appears to hover. The pink object in the foreground is a s Cameroonian hat made of flamingo feathers. He sometimes even sleeps here, curling up on a chaise longue.

Aged 35 and with a stylish hippy-chic look, he sports a mane of long, artfully straggly hair that frames a luxuriant beard and eyes that twinkle as he explains: I love that feeling. Whether tiny or monumental, all his goddesses feature a vertical silhouette topped by a circle.

It is the shape of an Egyptian cross of life, his favourite symbol, which he also wears as a ring. According to the artist: He does this by assembling disparate items — an old piece of jewellery from Zaire, for instance, with a billiard ball on top of an Art Deco plinth. The result is a new object that looks like it has always existed — and something that will no doubt drive ethnologists of the future crazy. It is not enough to merely turn something upside-down; you have to put it together with objects from another culture.

Of the rooms he inhabits in the attic, half are used as storage space for raw materials — hundreds, possibly thousands, of objects for future assemblages. A list of them reads like a simple yet surreal poem: You might think you were in the storerooms of a colonial museum, or in the home of a particularly tidy dealer of stolen goods, so neat and diverse is the array. One can easily imagine their disappointment on discovering that the treasures here are the vertebrae of a whale and some rusty spears.

The room in which Nicolas transforms these items into artworks has a tiny balcony with just enough room for a tub chair so he can sit in the sunshine. Covered with objects, the wall facing his workbench is a masterpiece in itself: Further down the corridor, a room with s wallpaper houses pieces awaiting assembly, while a larger one serves as a showroom for imposing totems that surround a Louis-Philippe dressing table decorated with shells.

He uses another, entirely unfurnished, space to look at pieces with a bit of perspective. For the last few months, Nicolas has been feeling inspired by obelisks.

Perhaps there will be children? I dream of installing it in the gardens of the Villa Medici in Rome. Just imagine! Visit nicolaslefebvre. Opposite, top: Nicolas has taken over the entire top floor of the Hausmannian building and uses its warren of corridors to display and store yet more of his art. On the left, an antique cabinet contains a small sculpture.

The black basin in the opposite corner is original, installed in c Beneath it stands a display cabinet housing a piece of Mediterranean coral. The plinth was once a circus prop. Hardly a predictable restoration of a year-old Umbrian manor.

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Elspeth Thompson. The first-floor salon is the largest room. Its canvas wall panels used to fit between the ceiling beams. Walford rescues houses for a living. Walford returned in the less poetic light of day with Andrea lo Bue di Lemos, his partner in the architecturalrestoration business he runs from Catania in Sicily.

To their delight they found that elegantly proportioned rooms, painted ceilings and intriguing traces of frescoes more than made up for the mice nests, damp and general decay. Within a few days they had negotiated a deal with the absent owner, and the house — all ten rooms and seven centuries of it — was theirs.

Walford has strong opinions about restoration. Not for him the slipping-in of a new Conran kitchen beneath ancient rafters, or carving-up of rooms to make space for the washing machines, Jacuzzis and extra bedrooms deemed essential by so much of converted Chiantishire. But for that and an unfussy and decidedly unfitted kitchen, the house remains structurally unaltered since its days as the local casa padronale, or manor house, presiding over 46 neighbouring farms whose fields of grain and sunflowers once stretched almost all the way to Arezzo.

When it comes to decoration, however, Walford is certainly no purist. The spirit rather than the letter of the original is his guide; a vibrant atmosphere rather than museum-like authenticity his aim. Their confident but unsophisticated style suggests the work of local theatrical set decorators. Walford stencilled the credenza with Neoclassical designs and replaced its glass door panels with fabric. Walford painted this vase, transformed from a Sicilian sieve, with flowers inspired by some Ridgway ironware plates.

The instruments of geometry and the half-human, half-mythological heads may have Masonic origins. American colonial striped chintz cheers up the room.

The other main surprise is the 19th-century wall paintings — in one bedroom, maritime scenes of ships and distant islands are framed by theatrically swagged and tasselled curtains; in another is a frieze of flowers, fruit and figures — part-human, part-mythological. These were discovered under layers of whitewash and wallpaper.

The former, its endearingly unsophisticated bravura still intact, is set off against simple furniture in the master bedroom. I like rooms to look cared for. Anything remotely faded would have made it look as if it had been forgotten. Not one metre of fabric or piece of furniture was bought specifically for the house; the roll of yellow American chintz, like many of the other fabrics and objects that have come to roost here, was bought from a market stall long ago and had spent many years in storage, awaiting its moment.

A limited budget meant that problems were solved by imagination and hard work rather than visits to antique shops. Walford jokes that he hung the panels on the walls because he had no paintings, but in fact four of the 12 were so badly mouse-bitten they had to come down anyway.

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A large wooden divan, which Walford originally had made for his house in Sicily and then painted with a leaf motif, is set behind a 19th-century folding metal table. downloading a farmhouse they spent a sultry summer decorating it with murals and bas-reliefs — Surrealist symbols of their partnership. Though war tore them apart, evidence of their efforts — and short-lived liaison — remains, left happily alone by the current owner, as Joanna Moorhead learns.

Tim Beddow Top: Large wooden doors open into a small courtyard with a stone staircase that leads up to a terrace. Art historians have speculated that the left-hand male figure is self-representative, while the willowy female at right, holding a cat-like totem, may symbolise Carrington. The terrace has a roof to protect it from the sun, and a window to let in the breeze.

But in a remote corner of southern France, the Surrealist artist Max Ernst and his young lover, Leonora Carrington, were painting their way through the happiest summer of their lives. Deciding to join Ernst in Paris was not a difficult call for her; she felt stifled by her bourgeois family a later painting, Green Tea, or La Dame Ovale, of , attested to this , and she was only too delighted to skip away from their mansion in grey Lancashire and wrap herself in the sunshine and intellectual energy of Paris.

It was the mature period of Surrealism: They journeyed south by train from the Gare du Lyon to Orange, where they left their suitcases to be sent on later and bought bicycles on which they rode further south until they reached a village beside a river, with a white, stony shore. The weather was warm, the people were few and Paris seemed a long way off.

Carrington wired home to her mother, Maurie, asking for some money; though she had left Britain in disgrace, the funds were forthcoming and the couple bought an old and decrepit stone farmhouse just outside the village, halfway up a hillside and with wonderful views across the vineyards and the valley. The house became their haven.

A few friends motored down to see them from time to time, Roland Penrose and Lee Miller among them, but mostly they were undisturbed, with plenty of time to talk and make love, to laugh and to tease one another, to walk in the fields and to have picnics.

And there was time, too, to work: Ernst painted Carrington, Carrington painted Ernst, and she also created the self-portrait that today hangs in the Metropolitan Museum in New York. And they painted the house, too, quite literally: Behind the wooden frame of a small kitchen cupboard door, captured as though it was passing by a window that very second, is a blood-red unicorn with a fierce orange mane and a wispy beard.

Ernst, meanwhile,. Top left: Top right: The idyllic interlude ended abruptly in June France was now at war with Germany; Ernst had been interned as an enemy alien; and Carrington had a breakdown and was spirited away to Spain by a visiting friend.

She sold the house in haste the day before she fled, to settle debts she and Ernst had in the town; and what is remarkable is how untouched the house has been over the eight decades since. It has not changed hands for almost 80 years; and since it is not open to the public and is unlikely ever to be, it stands today as a hidden treasure trove of Surrealist art. And what an extraordinary privilege it was to be there; in many ways, it feels as though Carrington and Ernst had only just closed the door and would perhaps be back later to cook a meal together or to continue work on some of the paintings.

Because Carrington moved out in such a hurry, she left many of her possessions behind, and most of them remain. On the shelves in the kitchen are pieces of crockery originally from Crookhey Hall, the Carrington family seat; on one wall is an old map of Europe, the continent into whose war the couple was then plunged.

This house remains its tangible relic: For opening times, ring 00 52 55 , or visit museoartemoderno. Here, in the shadow of the Pyrenees, the couple raise hens, graze cattle and grow vegetables, using as a base their restored oustau, or farmstead, of Catherine Ardouin finds out how they reinvented their lives. Ivan Terestchenko. The square house is topped with a mansard roof, under which a jasmine proliferates. The dormer window frames are painted,.

Hydrangeas, Lagerstroemia indica, echium and old-fashioned roses complete the scene. Caricatures of German generals from World War I in glass frames line up above an oak kitchen cabinet. Over the mantel sit s decoys of lapwings. This page, top: Next to it sits an industrial wash tub recycled as a laundry bin.

Middle left: Middle right: So too was the pedestal washbasin, about a decade older. An essential stopping place for pilgrims on the way to Santiago de Compostela, this small village was originally built as a place of refuge in the 11th century.

These migratory fish return to their place of birth after a long ocean journey to Greenland and the Faroe Islands, finding their way by the stars and their sense of smell. But her own fantasy was to have a vegetable garden; she came to realise that the secret of good cooking was highquality wholesome ingredients. The couple regularly spent their holidays in this land of poule au pot, a dish associated with Henri IV, the Protestant who converted to Catholicism in order to become king of France.

They rented houses in the Salies area, which claims to be the place of origin of the first air-dried ham, the famous jambon de Bayonne, thanks to its salt springs, ten times.

Legend has it that in the 12th century a wild boar killed by hunters was found many days later well preserved in the springwater… One day the couple decided to get away from it all. This was the first house they inspected.

Surrounded by 50 acres of good land and lush forest with a silhouette of peaks in the background, the estate had everything the couple were looking for, and they immediately decided to take the plunge.

The main dwelling is a square, symmetrical 18th-century building that spans three floors. Its mansard roof, with scalloped terracotta Picon tiles, is in two sections: Built for a local bourgeois family in , it was later inhabited by farmers with scant comfort. The armchair was found at a car-boot sale. The house is now comfortable and welcoming.

The Gaillards have not carried out any major work, preferring to consolidate rather than restore, apart from taking down some partition walls to create a large living room. Floors, doors and windows are still original, while the walls have been painted in attractive subtle colours. The furniture has come from their families or from local second-hand markets. All in different styles, they have slipped naturally into the house as though having arrived here one by one over a long time. The most striking room is the kitchen, with its adjacent scullery, which has its practical functions carefully hidden away.

The floor is laid with flagstones from the Gave river, and the metal light fittings were unearthed in a silo.

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Caricatures of German generals from the war set in glass are lined up with military precision on an oak kitchen cabinet. The legendary cream cast-iron Aga has replaced the fireplace while retaining the original hood. This central room is separated from the living room by the entrance corridor and is bounded by the staircase that leads to the bedroom. In the garden is a pond built with stones from a former wine storehouse and fed by a local spring; they use it as a swimming pool.

In the barn is a sauna that is greatly appreciated in cold weather. The rest of the space is used for storing wood, tools and beekeeping equipment. The former farm buildings have been done. They thought about, drew and organised each plant. Their vegetable plot, a square kilometre, today contains more than a hundred different varieties of heritage vegetables, which they prepare for friends with aplomb.

The potager has won two prizes, in and , at the competition for the best vegetable gardens in France.

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And their fields are populated by seven cows that turned up one after another: The couple will soon be making their own cheese. The latest plantings are two local white grape varieties: Petit Manseng and Courbu. Are you a master of the decorative arts, like Tony Walford page ?

Ring , or visit pentreath-hall. Ring 00 , or visit armazemdoslinhos. Go for both together, like Tony Walford did page Ring , or visit bertandmay. Ring , or visit store. The recipes and techniques were rediscovered by Coade Ltd, which makes pieces from the virtually weatherproof material at its workshops in Wiltshire.

Ring , or visit coade. Queen Maria Carolina in her garden at Caserta. Rather, a leisurely soak in the deep bath at the heart of its curving cryptoporticus page Ring , or visit lapicida. Ring , or visit designersguild. Visit johnlewis. Ring , or visit anniesloan. Ring 00 33 1 40 20 14 14, or visit galeriedeslampes.

Ring , or visit georgesmith. Ring , or visit robertstephenson. These formative influences paid off. Catapulting contemporary photography to the top of the art market is the side effect of a career that has redefined the genre and anticipated the post-truth era. These multiple viewpoints of the motorsports venue were then digitally fused to form a single, democratic composition created from dozens and dozens of images painstakingly stitched together.

Surrounded by arid desert landscape, the fraught black curves seen from above are devoid of cars or people, and the result verges strikingly on the abstract. Our changing globalised economy has proved fertile ground for Gursky. In a recent indoor landscape of an site warehouse in Phoenix, Arizona, packages jostle together in a dizzying display of commerce, while Prada II exposes our hollow cultural fantasies about consumer goods through the emptiness of green and pink store shelves.

Gleaming recesses present the calculated theatre of commercial display, of staging and soliciting desire, while evoking the work of Minimalist light artists.

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Two recent photographs eschew his usual elevated viewpoint and uncannily precise focus. Returning to both locations, Gursky reshot the same point of view with a largescale camera. With their variable focus, the works acknowledge the phenomenon of the mobile-phone picture — an image meant to serve a single moment of living — while aspiring to the grandeur of works of art. At 63, Gursky continues to rewrite his own rules. Bahrain I, , C-print, Ratingen, Swimming Pool, , inkjet print, cm max.

Nha Trang, , C-print, Diasec, Call ref: CWI or register at www. Overseas airmail: For overseas enquiries please e-mail theworldofinteriors subscription. Offer closes 9 February For privacy policy and permission details, log in www. Women cast off their hobble skirts, bobbed their hair and climbed into fringed frocks that exposed parts of the body that had been hidden away for centuries.

The world became faster, louder and more mechanised: And the savage rhythm that ran through it all was the sound of jazz.

In the Britain of Wodehouse, Coward and Waugh, the music of Louisiana flophouses and Harlem juke joints became the soundtrack for high society — an enthusiasm for black American culture was something exotic, subversive, even dangerous, with which to shock staid maiden aunts and censorious clergymen.

Unlike its anthropological counterparts, however, jazz was defiantly modern, an urban art form in which trumpets blared like motor horns and clarinets soared like skyscrapers. This show examines how this wild noise became somehow tamed during its transatlantic crossing. Its heroes were pasty-faced dance-band figures such as the limpid pianist Lew Stone, the peppy trumpeter Nat Gonella and the mournful crooner Al Bowlly.

The uniquely refined sound they created is attributable in part to the fact that they were attempting to recreate a version of jazz based entirely on scratchy recordings played on primitive equipment.

Many of them had not experienced American jazz as it was intended — raw and live. The Sussex painter Edward Burra, for instance, tracked the music to its source — it is said that he told his mother he was going for a walk in the garden only to vanish to the USA for six months, where he chronicled clubland as a kind of Otto Dix of the Harlem Renaissance. Other visual artists interpreted the essence of jazz in more abstract fashion, as seen in the gaudy ornamental vases of Enoch Boulton — although, in truth, their kaleidoscopic palettes and jagged diagonals owe more to Vorticism than the music of Bechet and Armstrong.

Edward Burra, The Band, , watercolour, Co-operative Wholesale Society shoes, Until 28 Feb. Mon, Wed-Fri 9. This spellbinding history of magic ties. New York artist Polly Apfelbaum shows four sandy-coloured carpets woven with giant feet based on a Dubuffet sketch of footprints on the beach , and glazed ceramic sculptures modelled on her own hand. Tues-Sat Mon-Thurs, Sat, Sun , Fri The big Finnish: A history of life drawing, from the beginnings of the RA years ago to new work using VR technologies and art software.

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Sat Plus, paintings by Arnulf Rainer, pioneer of the Austrian Informel movement. Grayson Perry tapestries, woodcuts, ceramics and tiles conceived for his House for Essex. Until 4 March, key conceptual works by Rose Finn-Kelcey Until 11 Feb.

Mon-Sun Dorothy Cross is known for hybrid sculptures incorporating seashore debris; here, she shows a bed carved in Carrara marble, and body parts cast in gold or bronze. Modern British land, sea and figure studies from the Ingram Collection.

TuesSat Based in a remote Norwegian farm-. Plus, the great and the good: Sat , Sun 2. While the main gal-. Follies, temples and tow-.

TuesSun Rigorous geometric compositions.

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