Design Lifestyle E-Book

Bruno Cardin

• Herausgeber: Bruno Editore
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2023

Beschreibung

How great would it be to live in a home that can 100% reflect our true essence? One thing is certain. Home has always been the most beloved place to take refuge. Inside it, we spend time with our family and loved ones, consequently making it the ideal space in which to truly feel ourselves. The problem is that, more often than not, we happen to feel immersed in spaces that we do not feel are ours or that simply do not represent us. Reason why we look for quick and practical solutions that, however, instead of helping us live better, only distract us from the greatest goal a home should have: to make us feel good. If I told you now that there is a way, simple and effective, to properly design your home spaces, both indoor and outdoor, would you like to learn more? In this book, which is the result of my many years of experience in this field, I will show you how details can really make a difference when designing a home and how, through sensory design and architecture of the five senses, it is really possible to live in a home environment that can fully express our true essence in everyday life.

INSIDE THIS BOOK YOU WILL DISCOVER:

• How our home affects our personal well-being.
• Why taking care of home spaces is a way to take care of ourselves as well.
• The architecture of the five senses: what it is, what it is for, and how it enables better living.
• How color also affects our perception of surfaces and space.
• The secret to designing home spaces through the four elements.
• What aspects to consider when designing outdoor spaces.
• How to structure outdoor spaces properly and functionally.
• Why paying special attention to the lighting of one's home is of paramount importance for the well-being of the family.
• What is the amount of budget to allocate to lighting a home.
• The real secret to furnishing your home properly and in line with your personality.
• ...and much more!

Leseprobe

BRUNO CARDIN

DESIGN LIFESTYLE

Happy At Home

Domestic spaces can indeed be created to reflect us. The secret? Making the most of every detail.

Title

"DESIGN LIFESTYLE"

Author

Bruno Cardin

Publisher

Bruno Publisher

Website

https://www.brunoeditore.it

All rights are reserved in accordance with the law. No part of this book may be reproduced by any means without the written permission of the Author and Publisher. It is expressly forbidden to pass this book on to others, either in print or electronic form, for money or free. The strategies reported in this book result from years of study and specialization, so there is no guarantee that the same personal or professional growth results will be achieved. The reader assumes full responsibility for their choices, aware of the risks involved in any exercise. The book is for educational purposes only.

Summary

Introduction

Chapter 1: How home affects your life

Chapter 2: The architecture of the five senses

Chapter 3: Designing with the four elements

Chapter 4: Structure and function of outdoor spaces

Chapter 5: The importance of proper lighting

Chapter 6: The last 5 steps to making a home

Conclusion

Introduction

If I asked my employees to describe me briefly, they would probably say that I am a "detail maniac." Which is absolutely true.

Too often undervalued, pitted against what really matters, the essentials, details are for many what to devote themselves to only after taking care of everything else if there is still energy left over. Rare fact: often, in fact, we put them off to quieter, more prosperous times.

Christian Dior said that "the detail is as important as the essential. When it is inadequate, it destroys the whole creation." For the great designer, precisely the details turned a beautiful dress into a masterpiece.

The propensity to grasp them is a gift I have had since childhood. Some people are born with exceptional manual dexterity, with "good feet," with an absolute ear and others with a particularly keen sense of smell. I was gifted with so-called "beautiful eyes." I am 120% visual, meaning that from the time I open them in the morning until I close them at night, my eyes wander in a constant search for fulfilling views and harmonious compositions.

Looking back now on my life and personality, it was clear from the beginning that design would be my destination. I could find most professional satisfaction and fulfillment in this field, yet I landed there almost accidentally.

At the University of Padua, I was enrolled in the Faculty of Political Science but, a strong feeling towards art pushed me to approach the world of contemporary architecture. So I decided to take interior design courses in the dynamic city of Venice.

I began working for a company that manufactured and marketed architectural harnesses to support myself during my studies. These three very different worlds made that period dense with stimuli and teachings: art lessons found unexpected applications in the working reality when it came to choosing materials and color combinations; at the same time, practical experience in the company (placing orders, interfacing with suppliers, etc.) offered me an important key in understanding subjects such as business administration or microeconomics.

So it was that job, which began as a temporary position aimed at replacing a woman on maternity leave, instead absorbed me for six years. It was an extremely formative period in which I had the opportunity not only to discover the background and mechanisms less obvious that govern the world of architecture and design but to "get my eye" on spaces and juxtapositions: I learned to recognize at first glance the potential of a place or a raw object; I perfected my natural predisposition to juxtapose colors, shapes and materials to create harmony and beauty. Especially, I decided to deal with making beautiful those, soulless, industrial, notoriously unsightly buildings.

Against the grain I was applying design techniques to complexes that were born without any aesthetic pretensions, from which only functionality was expected. The absence of character made them perfect neutral bases to unleash all my creativity. When I realized that what I was doing was Design, I began taking specific courses that provided me with the theoretical knowledge behind the techniques that, "by feel", I was already applying. Since then, I never stopped training.

By the age of twenty-six, I could boast of established relationships with the most distinguished names in Italian and Spanish architecture; thus, I decided to invest the money I had earned to set up my own business. I opened my first company and became a commercial broker in the sale of finishes.

As I took care of the arrangements with clients, I often inspected the most luxurious villas in Italy and on the Iberian Peninsula. During one of these visits, I had the revelation that would change my life.

It was a late, sunny February morning when I walked through the gates of one of the most majestic villas on the Ligurian coast. The imposing building, in an elevated position above the village of Zoagli, seemed to point to the sea like the prow of an ancient boat. Despite the digging machinery in the garden, the green roof covering, and several stacks of tiles leaning against the walls, it was easy to imagine the beauty the building would gain once the construction site was completed.

From within, I could hear an indistinct hubbub coming from inside, so I headed that way, looking out one of the compartments of a French window. A group of workers gathered around a makeshift table were animatedly discussing and messing with drawing boards. At the same time, a woman, whom I immediately identified as the lady of the house from her manicured outfit and hairdo, looked at them astonished, shaking her head.

Out of the corner of her eye, she must have caught my movement in the doorway because she turned to greet me. "You must be here for the stained glass windows. Nice to meet you, Margherita Della Valle." she said after reaching me, extending her hand.

We, therefore, began the inspection. Once finished, we re-entered the room where the story began, and Margherita showed me the final drawings of the entire project. In reality, detailed as it was, what I had in front of me was the "box" design which was still missing any furniture components, including the lights. I asked her for an explanation, and she told me that she had not yet found theinterior designer to entrust the project. On the other hand, she told me, she already had a very good gardener to whom she had entrusted the "garden decoration." With a shudder, I thought of the project as a patchwork in which each professional could add their own little piece without (having to) agreeing with the others to get at the end of it all a result, if not harmonious, at least coherent.

I realized that, indeed, there was a gap in the supply of tailor-made design services: highly specialized figures were often hired for projects, but there was a strong lack of coordination of a common thread linking interior and exterior, structure and decoration, finishes and lighting... the harmony of a single style language was missing.