The Bedroom Tub: It’s Controversial, But That’s Why I Love It

The Bedroom Tub: It’s Controversial, But That’s Why I Love It

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f all the ultra-indulgent design trends,
my favorite might have to be bedroom bathtubs. Some may call it impractical,
but I call it convenient (who doesn’t want to go straight from tub to robe to bed again?
The ol’ sleep-n-soak razzle dazzle).
Some say it’s just plain weird, I say it’s ahead of the times.
Some might think a bed-adjacent tub looks like a fish out of water, but I think, hey,
at least the fish has somewhere to swim now.
Well, now that I’ve exhausted that sentence structure,
we can get back to what I came here for:
Writing a love letter to all the bathtubs brave enough to break into new territories.

I first encountered this design trend while

touring the NoMad Hotel, and, in this context,

I think it makes total sense.

Hotels are made for relaxing and romantic

getaways and they also tend to present some

spatial issues (i.e. there isn’t usually unlimited room,

so creative layouts are essential).

Within that same vein,

a statement floating bedroom tub would be

well-suited to a vacation home—or just a home

where a soaking tub isn’t an option in the actual bathroom,

but there is enough space to build one in the

bedroom in lieu of an extra sitting area or workspace.

But, as with any convincing argument,

I’d be remiss not to address the counterpoints.

The biggest everyday caveats are privacy and puddles,

both of which I’d argue are manageable

as far as design caveats go.

The key is to make sure you’re

bedroom is actually optimized for bathing.

And, of course, there’s more to it than just

aesthetics and everyday qualms.

So I asked Los Angeles-based designer Jenn Feldman

to tell me what actually goes into prepping a

bedroom for a soaking tub.  ออกแบบบ้าน


5 Bedroom Apartment/House Plans A three-bedroom home

5 Bedroom Apartment/House Plans A three-bedroom home

A three-bedroom home can be the perfect size for a wide variety of arrangements.

Three bedrooms can offer separate room for children, make a comfortable space for roommate,

or allow for offices and guest rooms for smaller families and couples.

The visualizations here show many different ways

that three bedrooms can be put to good use with stylish furnishings and unique layouts.

This colorful home would be an ideal choice for music lovers,

featuring two bedrooms and a spacious living area,

complete with music storage and stereo,

that opens out onto a cozy veranda.

A small kitchen and an office area complete the comfortable home.

This three bedroom house fully embraces a natural aesthetic.

Not only does it use neutral browns and grays throughout,

it features four separate outdoor patio areas.

In a spacious design that would be perfect for roommates,

this three bedroom house includes private baths for each room

and a separate guest bath in the front hall.

Outdoor lounging areas complete this modern, luxurious layout.

Another three bedroom layout from

Astin Studios turns the largest bedroom

into the lap of luxury with white marble floors,

a conversation nook and a walk-in closet.

Working with a small space than some of the other

designs in this round up, this three bedroom

apartment still has all the trappings of a comfortable, modern home.

A Jack and Jill bathroom makes a perfect option for siblings

with the master bedroom has it’s own bath and walk-in closet.

The kitchen includes a breakfast bar as well as a dining area. รับออกแบบบ้าน 


5 Stunning Apartments That Show Off The Beauty Of Nordic Interior Design

5 Stunning Apartments That Show Off The Beauty Of Nordic Interior Design

Scandinavian influence has flourished in every element of design ranging from visual art and typography to architecture,

of course, furniture and home decor. This post features 10 apartments that demonstrate the range

and versatility of Scandinavian interiors – some offer the classic white and wood familiar from the Ikea magazines

, while others tackle the broader definition of Nordic decor with bright colorful motifs.

One of the best things about Scandinavian

design is that almost anyone can integrate some of these classic looks within their own homes.

We’re sure you’ll find inspiration to suit your own signature style.

Our first interior starts with a concept for a renovation

later completed by architects Anna & Eugeni Bach,

visualized here by Render Taxi. It plays up the importance of light in Scandinavian design,

but adds at least one striking modernistic twist:

an amazing ceiling that weaves a narrative between the bright light and corresponding shadow.

The original tiles were recovered from

the original restoration and later reconfigured in a series of distinctive stripes to outstanding effect.

Decorated with wood and white surfaces,

the kitchen essentially personifies the most basic Scandinavian design ideals.

This home is a great example to show that

Nordic influence doesn’t require that everything come from Scandinavia.

The mirror is from French designer Jacques

Adnet, and the rightmost stools are by Fabio Bortolani.

This next space is a little more colorful,

and integrates plenty of natural themes.

Bright color is always appreciated during long those Scandinavian winters so it makes sense

to include as much life and vibrancy as possible.  รับออกแบบบ้าน 


Reviews parasite It’s so clichéd at this point in the critical

Reviews parasite It’s so clichéd at this point in the critical

Parasite review: A chilling thrill ride about inequality - Vox

It’s so clichéd at this point in the critical conversation during the hot take season of festivals to say,

“You’ve never seen a movie quite like X.”

Such a statement has become overused to such a degree that it’s impossible to be taken seriously,

like how too many major new movies are gifted the m-word: masterpiece.

So how do critics convey when a film truly is unexpectedly,

brilliantly unpredictable in ways that feel revelatory?

And what do we do when we see an actual “masterpiece” in this era of critics crying wolf?

Especially one with so many twists and turns that the best writing about it

will be long after spoiler warnings aren’t needed? I’ll do my best because Bong Joon-ho’s

“Parasite” is unquestionably one of the best films of the year. Just trust me on this one.

Bong has made several films about class (including “Snowpiercer” and “Okja”),

but “Parasite” may be his most daring examination of the structural inequity that has come to define the world.

It is a tonal juggling act that first feels like a satire—a comedy of manners

that bounces a group of lovable con artists off a very wealthy family of awkward eccentrics.

And then Bong takes a hard right turn that asks us what we’re watching and sends us hurtling to bloodshed.

Can the poor really just step into the world of the rich?

The second half of “Parasite” is one of the most daring things I’ve seen in years narratively.

The film constantly threatens to come apart—to take one convoluted turn too many in ways that sink the project—but

Bong holds it all together, and the result is breathtaking.

Kim Ki-woo (Choi Woo-sik) and his family live on the edge of poverty.

They fold pizza boxes for a delivery company to make some cash, steal wi-fi from the coffee shop nearby,

and leave the windows open when the neighborhood is being fumigated to deal with their own infestation.

Kim Ki-woo’s life changes when a friend offers to recommend him as an English tutor for a girl

he’s been working with as the friend has to go out of the country for a while.

The friend is in love with the young girl and doesn’t want another tutor “slavering” over her.

Why he trusts Kim Ki-woo given what we know and learn about him is a valid question. อ่านต่อ



Reviews A tiger can crowd a lifeboat Ang Lee’s “Life of Pi” is a miraculous

Reviews A tiger can crowd a lifeboat Ang Lee’s “Life of Pi” is a miraculous

Life of Pi - A Film - Life of Pi

Ang Lee’s “Life of Pi” is a miraculous achievement of storytelling and a landmark of visual mastery.
Inspired by a worldwide best-seller that many readers must have assumed was unfilmable,
it is a triumph over its difficulties. It is also a moving spiritual achievement,
a movie whose title could have been shortened to “life.”
The story involves the 227 days that its teenage hero spends drifting across the Pacific in a lifeboat with a Bengal tiger.
They find themselves in the same boat after an amusing and colorful prologue,
which in itself could have been enlarged into an exciting family film.
Then it expands into a parable of survival, acceptance and adaptation. I imagine even Yann Martel,
the novel’s French-Canadian author, must be delighted to see how the usual kind of
Hollywood manhandling has been sidestepped by Lee’s poetic idealism.

The story begins in a small family zoo in Pondichery, India, where the boy christened Piscine is raised.

Piscine translates from French to English as “swimming pool,” but in an India where many more speak English than French,

his playmates of course nickname him “pee.” Determined to put an end to this,

he adopts the name “Pi,” demonstrating an uncanny ability to write down that mathematical constant that begins with 3.14 and never ends.

If Pi is a limitless number, that is the perfect name for a boy who seems to accept no limitations.

The zoo goes broke, and Pi’s father puts his family and a few valuable animals on a ship bound for Canada.

In a bruising series of falls, a zebra, an orangutan,อ่านต่อ



Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Why Gone Girl's Amy Dunne is the Most Disturbing Female Villain of All Time | Psych of a Psycho - YouTube

“Gone Girl” is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
It is also a film that shifts emphasis and perspective so many times that you may feel as though you’re watching five short movies strung together,
each morphing into the next.
At first, “Gone Girl” seems to tell the story of a man who might or might not have killed somebody,
and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people
who believe in his innocence can’t help wondering. His name is Nick Dunne (Ben Affleck). He’s a college professor and a blocked writer.
His dissatisfied wife Amy (Rosamund Pike) disappears one day,
prompting local cops to open a missing persons case that becomes a murder investigation
after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy’s diary,
read in voice-over by Amy and accompanied by flashbacks,
hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway).
Were things ever really all that sunny, though? If they weren’t,

which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives

(Kim Dickens and Patrick Fugit, both outstanding) who investigate Amy’s case?

Can we trust what Amy tells us, via her diary? Is one of the spouses lying?

Are they both lying? If so, to what end?

The film raises these questions and others, and it answers nearly all of them,

often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be.

As directed by David Fincher (“Se7en,” “Zodiac”) and as adapted by Gillian Flynn from her bestselling potboiler,

“Gone Girl” suggests one of those overheated,

fairly comic-bookish “R”-rated thrillers that were everywhere in the late ’80s and early ’90s.

Like those sorts of pictures, “Gone Girl” is dependent upon reversals of expectation and point-of-view.

As soon as you get a handle on what it is, it becomes something else, then something else again.

Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn’t read Flynn’s book.

That’s why I’m being so vague.

Suffice to say that its explicit sex and violence and one-damn-thing-after-another,

to-hell-with-realism plotting put it in the “Basic Instinct”/”Fatal Attraction”/”Presumed Innocent” wheelhouse.

It is a metafictionally-minded version of a bloody domestic melodrama that actually uses อ่านต่อ




The first time we see Michael Keaton in his tighty-whities in “Birdman”


The first time we see Michael Keaton in his tighty-whities in “Birdman”
it’s from behind. His character, a formerly high-flying movie star, is sitting in the lotus position in his dressing room of a historic Broadway theatre, only he’s levitating above the ground.
Bathed in sunlight streaming in from an open window, he looks peaceful.
But a voice inside his head is growling, grumbling,
gnawing at him grotesquely about matters both large and small.
The next time we see Keaton in his tighty-whities in “Birdman,”

he’s dashing frantically through Times Square at night, having accidentally locked himself out of that same theatre in the middle of a performance of a Raymond Carver production that he stars in, wrote and directed.

He’s swimming upstream through a river of gawking tourists, autograph seekers, food carts and street performers.

But despite the chaos that surrounds him, he seems purposeful, driven and–for the first time–oddly content.

These are the extremes that director Alejandro G. Inarritu navigates with audacious ambition and spectacular skill

in “Birdman”–the full title of which is “Birdman or (The Unexpected Virtue of Ignorance).”

He’s made a film that’s both technically astounding yet emotionally rich, intimate yet enormous, biting yet warm, satirical yet sweet. It’s also the first time that Inarritu, the director of ponderous downers like

“Babel” and “Biutiful,” actually seems to be having some fun.

Make that a ton of fun. อ่านต่อ


Reviews Arrival about the recent surge of personal stories

Reviews Arrival about the recent surge of personal stories

Arrival -

Much has been written about the recent surge of personal stories being told through the horror genre in films like “It Follows,”
“The Witch” and “The Babadook,” but there’s an equally interesting trend in the science fiction genre as well.
Over the last few years, we’ve seen the genre used not only to examine the power of space travel or a post-apocalyptic future
but as a way to address common humanity more than futuristic adventure stories. Joining films like “Gravity,”
“Interstellar” and “The Martian” is Denis Villeneuve’s ambitious and moving “ Arrival ,”
a movie that’s about the day the universe changed forever but becomes more focused on a single story even as it’s expanding its worldwide narrative.

It is more about grief, time, communication and compassion than it is warp speed, and it’s a film that asks questions.

How do we approach that which terrifies us? Why is it important to communicate through language and not action?

The final act of “ Arrival ” gets to the big ideas of life that I won’t spoil here, but viewers should know that Villeneuve’s film is not the crowdpleaser of “The Martian,” Ridley Scott’s big TIFF premiere last year.

It’s a movie designed to simultaneously challenge viewers,

move them and get them talking. For the most part, it succeeds.

Amy Adams gives a confident, affecting performance as Louise, อ่านต่อ


Frozen Review Princess Elsa (Menzel) can create snow

Frozen Review Princess Elsa (Menzel) can create snow

Frozen 2 | Disney Movies | Thailand

Princess Elsa (Menzel) can create snow, and as a child she accidentally injures her sister Anna (Bell). She tries to control her gift, but when her power is revealed at her coronation, she flees in panic — plunging the kingdom into eternal winter. Anna must go after her and find a way to undo the spell.
Disney has always taken a fast and loose approach to adapting classic fairy tales, adding dragons to Sleeping Beauty, talking crabs to The Little Mermaid and dancing teapots to Beauty And The Beast. But their adaptations also have distinct phases: there were the early,
faintly Germanic fantasies; the lacklustre ’80s and the feisty ’90s princesses. Now we’re in the Tangled era, notable for big Broadway numbers,
large quadrupeds that act like canines and adjectival titles that don’t mention the heroine.
The result here is that a story about two sisters — powerful, scared Elsa (Idina Menzel) and good-hearted Anna (Kristen Bell) — is planted in,
and occasionally obscured by, an almost entirely male supporting cast.
The emotional moments are powered by the bond between the manga-looking, wasp-waisted sisters — their eyes literally bigger than their stomachs —
but the comedy comes largely from the buddy relationships between the guys, heroic ice-harvester Kristoff (Jonathan Groff),
dog-like reindeer Sven and sentient snowman Olaf (Josh Gad).
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Review “Coco” is the sprightly story of a young boy

Image result for coco

“Coco” is the sprightly story of a young boy who wants to be a musician and somehow finds himself communing with talking skeletons in the land of the dead. Directed by Lee Unkrich (“Toy Story 3”) and veteran Pixar animator Adrian Molina, \

and drawing heavily on Mexican folklore and traditional designs, it has catchy music, a complex but comprehensible plot, and bits of domestic comedy and media satire.

Most of the time the movie is a knockabout slapstick comedy with a “Back to the Future”

feeling, staging grand action sequences and feeding audiences new plot information every few minutes, but of course, being a Pixar film,

“Coco” is also building toward emotionally overwhelming moments, so stealthily that you may be surprised to find yourself wiping away a tear even though the studio has been using the sneak-attack playbook for decades.

Image result for coco

The film’s hero, twelve-year old Miguel Riviera (voice by Anthony Gonzalez), lives in the small town of Santa Cecilia.
He’s a goodhearted child who loves to play guitar and idolizes the greatest popular singer-songwriter of the 1920s and ’30s,
Ernesto de la Cruz (Benjamin Bratt),
who was killed when a huge church bell fell on his head.
But Miguel has to busk in secret because his family has banned its members from performing
music ever since Miguel’s great-great-grandfather left, abandoning his loved
ones to selfishly pursue his dreams of stardom.
Family and legacy as expressed through storytelling and song: this is the deeper preoccupation of “Coco.”
One of the most fascinating things about the movie is the way it builds its plot around members of Miguel’s family, living and dead,
as they battle to determine the official narrative of
Miguel’s great-great grandfather and what his disappearance from the narrative
meant for the extended clan.

I’m reluctant to describe the film’s plot in too much detail because,

even though every twist seems obvious in retrospect, Molina and Matthew Aldrich’s script frames each one so that seems delightful and inevitable.

Many of them are conveyed through a stolen family photograph that Miguel brings with him to the Land of the Dead.

The deployment of the photo is a great example of how to tell a story through pictures,

or more accurately, with a picture. Somebody’s face has been torn