Customization Requirements Of Luxury Hotel Furniture

Posted by zhuangheningbo on Aug 27, 2020 in 100

What are the main points of customizing Luxury Hotel Furniture :

1. Choose style: It is recommended to determine the style of hotel furniture before office decoration, and then customize and purchase hotel furniture and sofas according to this style, so as to avoid the inconsistency of hotel furniture and hotel decoration styles. In addition, many people choose custom hotel furniture to save money in addition to their individuality. If the budget is limited, don’t make unnecessary designs for the pursuit of individuality and cause unnecessary waste.

2. Size: When choosing custom hotel furniture, you must determine the type and size of custom hotel furniture products according to the hotel area. If the area of ​​the hotel is limited, when there are many rooms, it should focus on saving space so as not to appear crowded.



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Open Your Mind to Men’s Thongs

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When we think of  Face Slimming , thongs are not often the first type of underwear to come to mind. Women and men are often of two minds when it comes to men’s thongs: there are many reasons for them and many reasons against them. Men’s thongs are therefore considered to be a polarizing subject of discussion. However, this does not mean that they should be dismissed in an instant. Let us take a look at the pros and cons of thongs for men.

Many men and women believe that thongs should be worn only by women. This is because the thong is a revealing garment and while it is considered by some to be sexy, others consider the garment to be feminine rather than masculine. Boxers and boxer briefs are considered to be masculine forms of underwear. This is because it is commonly believed that men’s bodies are not designed to look good in a thong.

There are, however, individuals who are very Latex Waist Wrainer much for men wearing thongs. These individuals argue that men should be free to wear whatever style of underwear they choose and that men’s thongs are just as masculine as other forms of underwear. While thongs may, by nature, be very revealing, they are also much cooler and feel freer than other types of underwear. This means that they are particularly acceptable during the warmer months of summer.

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Fuji Elevator Company Is Strongly Commitment to Safety Closely with People

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Elevator Company Hengda Fuji Elevator every day tens of millions of people ride our products, we are committed to maintaining the safety of each elevator transport, and track the operation of each elevator.

Chinese Escalator Company,Elevator Company/Manufacturers,Passenger Lift factory Suppliers - fujihd.net. Fujihd elevator company is a world class China elevator manufacturers and elevator factory, Fujihd has rich product varieties. We can satisfy diverse requirements from various users. The products scope covers passenger elevator, observation elevator, goods elevator, freight elevator, hydraulic elevator, car elevator, small machine room elevator, machine room-less elevator, home elevator, dumbwaiter elevator, escalator and moving walk. The superior service guarantees the outstanding product performance. In order to satisfy the requirements from different areas, users and levels, the company has established one-continuous-line of highly-efficient work system from elevator design, manufacture, installation, modernization and maintenance.


Elevators and Escalator Company are among the safest modes of travel. FUJIHD is actively involved in the development of codes and standards that aim to further improve the safety of the equipment. We also promote safety through our participation in industry trade associations, and offer additional safety devices that exceed the minimum requirements.

We enhance the safety of FUJIHD products and services through rigorous attention to our design, manufacturing, installation, and maintenance processes. Safe practices are promoted for our employees and subcontractors, as well as for customers and people who use our equipment.

Modernization keeps elevators, escalators and automatic doors running smoothly throughout the lifetime of your building. It ensures that equipment works safely and reliably with minimum disruption. With small upgrades your old equipment can be brought up to date with the latest safety standards.


We are strongly commitment to safety and work closely with the people who rely on our products for safe and smooth transport as they go about their day. One way we promote safety is by organizing annual events that give people the opportunity to get to know how elevators and escalators operate and how to use them safely.

Enhancing elevator and escalator safety is a joint effort. Technology providers must manufacture equipment that meets applicable codes and standards. Building owners and maintenance service providers have a responsibility to make sure the equipment is professionally maintained and kept in good condition.

Elevator and escalator that from escalator elevator company users also need to pay attention to their own behavior. For example, children should be properly supervised when using both elevators and escalators, and large items such as baby strollers, heavy luggage, or shopping carts should not be transported on escalators.


At FUJIHD, elevator company - www.fujihd.net focus on making sure every one of our employees has the necessary competence to perform their work in a professional and safe manner. All employees receive training to a general level in health and safety, as well as training relevant to their respective work roles and tasks.

Every manager is responsible for ensuring that all necessary arrangements are in place to protect the safety of their teams. Employees and subcontractors follow the defined rules and methods to ensure the safety of themselves and anyone else who may be affected by their activities.

Members of the senior management teams periodically participate in workplace safety audits, and immediate corrective actions are taken if deviations are identified. If obstacles to safe working are identified, the work in question stops until a safe way to continue has been approved.

To support continuous improvement in FUJIHD’s safety performance, a procedure is in place to report and investigate accidents. The underlying root causes are identified and corrective actions implemented to ensure that the accident or near-miss incident is not repeated. As a result, we have improved our safety performance steadily over the years.

FUJIHD organizes quarterly global safety network meetings to share lessons learned from accidents and near-miss incidents. The meetings also serve as a forum for sharing good practices and discussing concerns.


Elevator networking is to solve the current elevator safety issues proposed concept, data acquisition part, data transmission part, the central processing part and application software together constitute a complete elevator object monitoring system.

Acquisition instrument to collect the elevator running data analysis and upload to the Internet monitoring center, combined with platform application software, in order to achieve the relevant units of the elevator real-time effective supervision and maintenance.

We have professional testing equipment 11, to undertake the detection of elevator locks, door machines, floor doors, speed limiters, photoelectric switches, buttons, traction wire rope, escalator roller, handrail, metal mechanical properties, salt spray test project 20 Balance item According to the development needs, the testing center this year will also plan to introduce a number of vibration testing equipment and other testing equipment, and constantly expand the scope and ability to detect. Testing Center in the “scientific management, standards, objective and fair, accurate and timely” approach, strict control management, to meet the company’s production and quality inspection needs, but also have other users to provide the same project testing services.

Article from elevator company: http://www.fujihd.net/

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Nicole Eisenman Has Both Style and Substance

Posted by wholesalebikini on Jan 4, 2018 in 100

Face Slimming Nicole Eisenman was buying bacon at the Pines Pantry on New York’s Fire Island last September when a number she didn’t know popped up on her iPhone. The caller informed her that she had won a MacArthur Fellowship, aka the “genius grant,” which guarantees a stipend of $625,000 over five years—no strings attached. Like just about everyone who gets the call, Eisenman thought it was a joke. “I kept walking around the supermarket, saying, ‘Really? Are you sure?’ ” she tells me as we’re sitting in her studio in Boerum Hill, Brooklyn. “And then I just dropped my shopping and went to lie down on the dock. I heard these words about why I got it: ‘American artist’ and that I was ‘central to how art is progressing forward,’ and I was just weeping. It’s hard to shake those feelings that you’re not quite part of the club, especially as a queer woman artist and a figurative painter. Maybe I’ve been around long enough that people are like, ‘All right, you hung on—you can be part of the cultural conversation now.’ ”

When Latex Waist Wrainer Eisenman came into her own in New York in the early 1990s, she was on its fringes. It was the height of the AIDS epidemic and the culture wars—a time ripe for the emergence of what the Hammer Museum’s director, Ann Philbin, calls “Nicole’s fierce, nasty queer-girl voice.” Painting and figuration were just starting to regain art world acceptance, via the works of John Currin, Lisa Yuskavage, and Elizabeth Peyton, but Eisenman had yet to see her own desires reflected in anything she was looking at. Then, during a studio visit in early 1992, Philbin, at the time the director of the Drawing Center, fished an ink drawing out of a trash bin that Eisenman had done of Wilma Flintstone and Betty Rubble having sex. “She said, ‘This is what you should be doing,’ ” Eisenman recalls. “She meant that I needed to speak personally. I was throwing away that point of view, because I thought there was no place for it. So the floodgates opened.”

What poured out were collages, drawings, and paintings inspired by comics, pornography, and art history that challenged sexism and pop culture and celebrated female utopias. There were images of a lesbian-recruitment booth, packs of women taking men captive, horse-riding Amazons, all rendered with virtuosic panache. “She owned that territory in a way that no one else did,” Philbin says, pointing to a 1992 Drawing Center commission that was “like a WPA mural with sneaky dark humor and feminist politics. Even now, Nicole has this extraordinary ability to cut to the core of the toughest subjects with diabolical finesse and searing humor.” Her breakout moment came during the 1995 Whitney Biennial: One of Eisenman’s contributions was Self-Portrait With Exploded Whitney, a massive mural depicting herself painting the only remaining wall of a collapsed Breuer building as dozens of men flee from the wreckage. “Her subversion,” says the painter Amy Sillman, a longtime friend of Eisenman’s, “really beamed out.”

These days, Eisenman’s ability to absorb art history and recast it as her own is so prodigious that looking at her output over her 25-year career, you might not fathom it as the work of a single artist.“I’ve never been able to home in on one way of doing things,” she says. “For years, it caused me a lot of anxiety, but I’m finally okay with it.” Renaissance, Baroque, social realism, German Expressionism? She’s been there, done that. But, as Massimiliano Gioni, the artistic director of New York’s New Museum, notes, “she doesn’t passively genuflect in front of art history; she resurrects it and camouflages it into our present.” In one of her best-known series, of beer gardens, Eisenman updated French Impressionist café scenes, replacing 19th-century characters with the Brooklyn hipsters and queer artists who populate her Williamsburg crowd. In the past several years, she’s been painting even more deeply autobiographical group tableaux that call to mind the haunted worlds of James Ensor or Edvard Munch. And then there are her monolithic faux-primitive heads, which were among the standouts of the 2014 “The Forever Now” exhibition at the Museum of Modern Art, the institution’s first contemporary painting survey in 30 years.

Finally at the center of the cultural conversation, Eisenman is the subject of two shows opening in May that explore her range. “Al-ugh-ories,” co-curated by Gioni at the New Museum (May 4 through June 26), looks at her allegorical, narrative works; and at Anton Kern Gallery, beginning May 19, she will unveil recent paintings exploring her New York life. What connects the two is the artist’s consistent focus on the figure. “How I understand the culture ultimately comes down to what I feel through my body,” Eisenman says.

On this cold, rainy afternoon in February, bodies are in various states of repose in the huge canvases propped against her studio walls. She’s been painting all day and is happy with her progress. Brushes, paints, and notebooks cover every available surface in the small room crammed with clamp lights, ladders, and a bookshelf. “It’s the most tender work I’ve done,” she says as she settles into an old sofa and plants her hiking boots on a low table strewn with catalogs. “These are me and my life. They’re homey paintings, not born of complaint.”

Many paintings feature members of the tight circle of artists and curators with whom she’s shared a house on Fire Island for the past three summers. They call their community the Tamplex, a name coined by the artist K8 Hardy to describe one of the few mostly lesbian houses in the largely upscale gay-male community of the Pines. Eisenman likes to bring her sketch pad and water-colors to the beach. “She’s constantly creating,” says the artist Ryan McNamara, one of her housemates, referring to her endless doodling, as well as the chess set she made last summer. Eisenman pulls out the clay chess pieces when I ask about them, showing off a voluptuous queen and a king with a drooping ball sack. “He’s kind of the dummy, and she’s got some attitude,” she says.

Eisenman, 51, is warm and direct, with cropped dark hair that accentuates her large, searching eyes. On the day of my visit, she is dressed in black pants, a boyish blazer, and a T-shirt with a red heart drawn on it, but a cold snap is in the forecast, and she tells me that she plans to put on three sweaters and long underwear because the studio doesn’t have any heat. When I suggest that with her prize money she can surely afford a new space, she laughs. “I hadn’t really thought about it. I like the confines of this studio. The only thing I’ve allowed myself is an assistant.”

One unfinished painting depicts figures lying on the beach in a style reminiscent of Paul Gauguin’s; another is a portrait of Grace Dunham (Lena’s younger sister) and her girlfriend, Willa Nasatir, wrapped in an embrace. The couple posed for Eisenman, though she also works from drawings and found photographs or whatever’s in her head. “It’s the first time in, like, 15 years that I’ve painted a realistic portrait and used Italian glaze techniques,” Eisenman says. “Maybe this is what getting the MacArthur does: I don’t feel I have anything to prove, so I can do whatever the fuck I want.”

Another new canvas offers a scene of friends at a party in Williamsburg—“an ideal moment of togetherness and community,” she says. But disrupting the reverie are her so-called “Shooter Paintings,” in which enormous abstracted faces, with the graphic pop punch of a Tom Wesselmann work, point a gun straight at the viewer. “They’re like the crasher at the party,” she says. “These terrible news stories that come crashing through in close-up. I’m fascinated by that contrast between tenderness and the intrusion of the real world.” She’s convinced that aggression and empathy—or “whatever the active feeling is”—get transcribed into paint by the artist. “To me, what carries the emotional content in paint is not the image; it’s really the texture. Texture is sculptural, and it’s a very primal experience.”

Eisenman’s father is a Freudian psychiatrist. As a kid growing up in suburban Scarsdale, New York, she loved listening to him interpret dreams. Often, she recalls, they’d go for walks and talk about what he was reading. But when she came out during her freshman year at the Rhode Island School of Design (RISD), he took it hard, she says, and they endured “a few rough years.” In The Session, 2008, she painted what she deems was her worst nightmare for much of her career: “Ending up homeless, without shoes, on my father’s psychiatric couch. My way of coping with fear is to tame it with humor. Here’s this person whom I love who is also my nemesis. It’s not one thing or the other—it’s all at the same time.”

Her parents’ home is still filled with folkloric paintings by her Polish-born maternal great-grandmother, a self-taught artist. As a teen, Eisenman took private art lessons with an inspiring teacher who had given up painting (“because she had been kind of cock-blocked from being part of the art world,” Eisenman says). Most weekends, Eisenman would escape to the punk scene in the East Village, where the world she encountered “matched the way I felt. It was such a relief from Scarsdale.” She moved to the city the day after she graduated from RISD, in 1987, and for the next five years took on a series of “excruciatingly shitty jobs,” painting faux-marble finishes in hotel lobbies and patinas on headboards at a bed factory. At night, she would occasionally paint murals on her bedroom wall.

Finally, in 1992, Eisenman devoted herself full-time to making art, after she sold most of her drawings in her first group show, at Trial Balloon, a loft space in SoHo run by the artist Nicola Tyson. A year later, she was included in “Coming to Power,” curated by the artist Ellen Cantor, at David Zwirner gallery. That survey of sexually explicit work made by and for women also presented pieces by Marilyn Minter, Cindy Sherman, Lutz Bacher, and Louise Bourgeois. Eisenman admits that at the time she had no idea who any of them were but recalls it as a heady period in which she felt “alive with pleasure” at being empowered for the first time. Critics quickly took notice. In the ensuing years, she took part in an exhibition at the Institute of Contemporary Arts, in London, that she liked—and another at the New Museum that she didn’t. Both shows, though entirely independent of each other, used the same title, “Bad Girls,” and explored feminist ideas in works by female artists. By the early aughts, however, Eisenman felt stuck, tired of her tightly rendered crowd scenes and political jokes. What followed was a period of wild experimentation—in paintings, prints, and sculpture—as she sought to loosen up her style with color and texture. She began looking more closely at the 20th-century masters. The figures in paintings like The Breakup, 2011, and Guy Capitalist, 2011, with their squeezed-from-the-tube red mouths, shows her toying with color, form, and abstraction. But she remained politically engaged too: The Triumph of Poverty, 2009, portrays a downtrodden crowd following a leader who moves, literally, ass-backwards, while a child holds out an empty bowl.

Eisenman lives not far from her studio with her daughter, George, 9, and son, Freddy, 7. She shares custody with her ex-partner Victoria Robinson, a producer who still lives nearby, in the house that the couple restored and where Eisenman painted a mural in the kids’ bedroom. Though Eisenman’s apartment is in a stylishly converted warehouse at the epicenter of hipsterdom, its decor is decidedly homespun, with a living room that doubles as a workspace. In the entry is a painting of a rugby match by her great-grandmother; above the sofa hang “trades” from friends: drawings by Dana Schutz and Jason Fox, a woodblock print by Tal R, and a drawing of Eisenman that Marlene Dumas made while the two sat in a bar in Amsterdam. Laid out on the living room floor are her children’s fantasy worlds constructed in Legos. Freddy’s is a Lower East Side tire shop; George’s is an oceanfront house in the Pines. “I really like the gay-rainbow tree house she made with a pool in the front yard,” Eisenman says.

When the kids were younger, Eisenman’s nostalgia for a way of life she felt she was losing to parenthood found its way into her paintings of people out celebrating, she recalls. “But then I realized that wasn’t true. That kind of life wasn’t over.” For her 50th birthday, last year, artist friends Leidy Churchman and A.K. Burns threw Eisenman what she describes as a giant “rager” in a local garage, with the transgender poet and model Juliana Huxtable playing the role of DJ. “It might be the last night in my life that I will ever party like that,” she says.

In the wake of her breakup with Robinson in 2011, after 12 years together, Eisenman experienced a period of turmoil. “I was literally weeping when I was making these,” she says, pointing to images of the monotype portraits of heads that were shown to great critical acclaim at the 2012 Whitney Biennial. “Everything is dripping and underwater. You know, sadness is very fruitful for me.” She paused. “My emotional life and my work are so interconnected, but I have always felt embarrassed to talk about my art that way. It’s not cool. But what are you going to do? I’m stuck with it.”

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Season three of the highly lauded show Gomorrah is set to return to Sky Italy on Nov. 17. Hailed as the best mafia show since The Sopranos, Gomorrah has been distributed in 190 countries, with Sundance TV airing the show in the U.S.
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Audemars Piguet oak offshore tourbillon chronograph watch platinum handwritten

Audemars Piguet Oaks Offshore Tourbillon Chronograph Wristwatches Platinum manual real-time operation it comes to gold, it comes to Titanium, and now the Audemars Piguet Royal Oak Offshore Tourbillon Chronograph is Platinum. This clock is located in the royal hall of the royal oak of Amphitheater. This is not the most qualified of the Royal Oak Offshore Company, but fortunately having its own people may have succeeded in carrying out a series of other very costly intensive purchases in life. I say this is because from the wear of the Royal Oak Offshore Chronograph to the Royal Oak Offshore Tourbillon Chronograph is a significant leap for the development of watch wearers. So what is this rare watch?

If you want special, you can refer to “Audemars Piguet” Royal Oak Offshore Tourbillon Chronograph as a reference 26388PO.OO.D027CA.01, or more simply called the Royal Oak Offshore 26388. Here, I Never recall a watch reference number, because they are too abstract to me. I am assigning characters to a watch like a person, so it is helpful to give them a correct name. In this respect, I have never been able to meet people like Patek Philippe lovers, they seem to remember the brand “code” model. At least some people have real names …shopping Replica Audemars Piguet JULES AUDEMARS Watches

The watch industry likes to help specify Platinum watches by pairing it with blue. Of course, this is not to say that all blue accent watches have platinum boxes, but reciprocity is often true. Platinum Albert Baby Royal Oak Offshore Tourbillon Chronograph comes with a pretty stunning metal blue dial and dark midnight blue rubber strap. Strange, I said that the latter part of the so mean. 20 years ago, you will never see a rubber strap with a tourbillon, no tourbillon watch will be sporty.

However, if you take a closer look at the album of Elvis Royal Royal Oak Tourbillon Chronograph, you will notice the exquisite watch removed from the Royal Oak Offshore Design and Size. Perlage polishing is widely used in the production of internal operations, 3Hz balance wheel looks like Audemars Piguet’s most elegant stock. Elegant, sport armor, but. Audemars Piguet uses a modern black anodized aluminum bridge on the tourbillon, with more black aluminum bridges on other parts of the movement (such as the rear) and the main barrel is fixed in place. There are two barrels on the winding, a total of the internal manufacture of the Audemars Piguet caliber 2912 manual wound movement with up to 237 hours of power reserve. It was a good time for a long time, but unfortunately, the movement did not provide the power reserve indicator, even if you could view the main barrel by the skeleton part of the dial.http://www.cheapsalewatch.com

Movement 2912 movement is an impressive appearance, it is enviable work, the high clock sense and modern design principles mixed. Audemars Piguet Royal Oak Offshore Tourbillon Chronograph is, after all, the most modern product of the Royal Oak Offshore Design Principles. Including hand, crown, chronograph and other details. However, the Royal Oak Offshore Company is based on the original Royal Oak Company in 1972, so in many ways this is a retro design, although you will not be forgiven because the watch looks.

In view of the appearance of the dial, is still pleasant and clear. The rest of the large Arabic numerals hour mark is full of SuperLumiNova luminaires, the same as the Royal Oak Offshore watch, easy to read. Of course, there is the chronograph problem, which uses the central second hand and trumpet.replica Graham London Chronofighter Oversize 2OVGR.B26A watch

Only 30 minutes, these tourbillon watch chronograph feels like an “extra bonus” rather than a major part of the design. If you want the Royal Oak Offshore Company’s chronograph complications, there are more full-featured models, and if you want a tourbillon watch, it is entirely possible that you do not need chronograph when you wear it. However, if you want to give some advice on your timepiece, then in the case of a complicated timer, it will provide some fun fun. It is also worth mentioning that the chronograph complexity is integrated into the motion of the design and has a wheel.

Movement 2912 movement of the completion and decoration completed by hand. High-end watches are usually like this, such as Audemars Piguet Royal Oak Offshore Tourbillon Chronograph. Then wear it 44mm wide is not always great, but it certainly can be designed with the Royal Oak Offshore Case. This is because not only the width of the lugs, but also the length of the lugs. So although the case itself is not so “wide”, but for a long time, it means that you need to put the whole “grand” on the top of the Royal Oak Tourbillon Chronograph. Of course, in view of the construction of platinum cases are mostly very solid.buy Hublot Spirit of Big Bang Replica Watches

Amphitheater Royal Oak Offshore Tourbillon Chronograph also uses ceramic, many modern royal oak offshore watches. Black ceramic for bezel, crown and chronograph. Ceramics as a material is very scratch-resistant, with a good acute angle, so in high-end watch production is usually preferred. Having said that, I remember someone having a comment on the ceramic crown. They said they missed the old rubber crown because it had a “warm” feeling. I found it interesting. The case is further waterproof to 100 meters, sandwiched between AR-coated sapphire crystals.

Audemars Piguet Royal Oak Offshore Tourbillon Chronograph itself is not a limited edition, but these will be pretty rare watches. Of course, the 26388 Platinum model may be the most exclusive. It will be the movement of the world’s Royal Oak off the coast with the more prestigious association staff equipped with a tourbillon with the watch, all of which are now more or less perfect Audemars Piguet style.fashion URWERK UR-210 watches replica

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