One of the modern touches to add to bathrooms is a change in fixtures and knobs. Changing the hardware in a bathroom can dramatically change the look when one is trying to modernize the bathroom. Using bright, shiny faucets, handles, and shower heads will give the room a fresh look. Be sure to choose fixtures that have clean lines and not too much decorative design included. The key is simple and sleek.

Modern Bathroom Design


Another modern touch is to change the light fixtures. Adding a small crystal chandelier is always a great feature to add a hip and trendy look to any bathroom. Using light fixtures with clear and simple sconces and shades also gives a modern touch to any bathroom. Keep the lines simple and the look as sleek as possible when choosing lighting fixtures.
Add picture frames that are metallic in construction or color. Use boxes and simple shelves to accent decorations such as metallic boxes, candles with clear holders, and crystal trinkets. Use a metallic clothes hamper, white or black baskets, and metal boxes to store and hold toiletries and other small bathroom essentials. Pick pictures and prints that match the room but have clean, sleek borders and lines.
Small Bathroom Sinks Modern Minimalist Bathroom Faucets Modern Bathroom Taps Bathroom Faucets Contemporary Modern Bathroom Faucet Modern Bathroom Faucet Modern Bathroom Lighting Bathroom Light Fixture Modern Bathroom Light Fixtures Modern Bathroom Light Fixtures 4 Light Modern Bathroom Modern Bathroom Lighting Modern Bathroom Lighting Bathroom Light Fixtures Contemporary Contemporary Lighting Bathroom Modern Bathroom Design Modern Bathroom Designs Ideas Modern Bathroom Design   Modern Bathroom Shower Modern Futuristic Bathroom Shower Head Designs

By Sarah Clarke


Furniture-that-makes-your-room-LaneThe vintage Lane Acclaim line of furniture seems to have been very popular in mid century America. We speculate that — much like the popular Drexel Declaration line – the design of Lane Acclaim appealed to Mrs. America because it was a good compromise between traditional and modern. It was a little bit Early American, a little bit mid mod.

Remember: The mass of Mrs. Americas were not nuts about mid century modern. But maybe she could tiptoe in. Interestingly — also like Drexel Declaration, there’s a Shaker feel to the Lane Acclaim design — you can see how the wood is connected. Reader Dave is a big fan of the line. He recently acquired what seems to be a very hard-to-find catalog of available pieces from the Lane Acclaim Line — and graciously shares it with all of us today.

Dave writes:

After much hunting, I finally tracked down a complete Lane Acclaim catalog on Ebay and have scanned it. This is a small booklet, 3″ x 4″, that was hung on showroom pieces with a string. As someone who owns six lane pieces (all tables) I was surprised to learn how extensive the line actually was! Especially since you mostly see only the tables trading, with possibly an occasional hutch or desk. I think it would be of value for MCM fans to have access to this great historical record of a classic furniture line. It’s a valuable reference for buyers and sellers.

lane-acclaim-side-tablesThis story is particularly fun for me, because I have a Lane Acclaim table — it is the cocktail table 900-01 (shown in the lead photo.) My mother in law gave it to me. It was her parent’s coffee table.

But, I’ve never seen most of the furniture that is in this catalog. Look at those nesting tables above — it looks to me like the top one has the dovetailed edge and the inner one doesn’t. Very interesting.

lane-acclaim-snack-table-and-cartAnd what is that I see — a TV snack cart on wheels? Amazing! (more…)

12-19-danish3Design does not merely exist in itself – design reflects society. This applies to classic Danish design from the 1950s and 1960s as well as to Danish design in the new millennium. As society changes, so does its design. Today’s design concept has been expanded in a way inconceivable to the designers of earlier generations. The development has happened as the world changed, with new technologies, new economies, new demands and new opportunities. In the past, we exclusively regarded design as the shaping of products. That is no longer the case. Nonetheless, products are still a cornerstone in design and in the following sections Danish design will be presented on the basis of both products and the designers behind them. Danish graphic design and communication is a separate chapter, which will be presented at a later stage.

The “heroic” period

Today, Danish design is flourishing. The new generation has gained a perspective on the classic period. The young designers regard the pioneers with respect – but are able to stand on their own feet. A presentation of Danish design has to start with its breakthrough on the international scene after World War II. A fortunate combination of internal and external circumstances led to a Golden Age, in which Danish furniture achieved particular success, but silver, ceramics, glass and textiles also experienced a fertile period. A breakthrough such as the classic Danish one can only occur if the talent is available.

And it was! However, talent is not enough – special growth conditions are required for the talent to thrive and develop. Three circumstances were particularly crucial to the success of Danish design in the post-war period. The first was the late industrialisation of Denmark. A living craft tradition with high quality standards was allowed to develop slowly and gradually into industrial production, closely monitored by the architects and master cabinet makers of the time.

Picture118-1The second was the world’s desire to see and experience something new after a war which had left large parts of Europe in ruins. The Danish light wood furniture with references to Nordic nature and a look that was sometimes based on classic furniture types but without the style elements of former periods soon gained a foothold internationally. Thirdly, Danish design had room for the individualists. This trend began to emerge in the 1930s, when the architect and critic Poul Henningsen scrutinised society and agitated for freedom, respect for the individual and a democratic, humanist view of life, which was rather unusual in the Nordic countries at the time. These attitudes gradually became widely accepted in Denmark.

The soil had thus been fertilised when the major talents appeared. The talents were so to speak given a free rein and architects and furniture designers found enthusiastic collaborators among master cabinet makers and other small production companies. The establishment of the Furniture School at the Royal Danish Academy of Fine Arts played a considerable part in the development of furniture design. Here Professor Kaare Klint represented Functionalism with studies of the proportions between people and objects. Klint has had greater influence on Danish furniture design than any other designer. His views of the form and function of furniture have influenced several generations of Danish designers and continue to do so today. Nonetheless, the Danes remained slightly sceptical about Functionalism, which therefore never had a complete breakthrough. Hans J. Wegner respected the Klint approach, but struck out a path for himself. Like several other furniture designers at the time, Wegner trained as a cabinet maker and combined extraordinary craftsmanship with a unique sense of form, resulting in a series of chairs which many regard as unsurpassable.

As the head of the cooperative FDB furniture design studio, Børge Mogensen designed a furniture series aimed at the average Danish family. It was simple and robust, and could be combined according to the family’s needs. In addition, Mogensen designed several characteristic chairs which are still in production, including the Spanish Chair.

Another individualist was Finn Juhl, who represented the artistic freedom with a personal idiom and chairs which were at once harmonious sculptures and traditional seating furniture. Concurrently, industrialised furniture manufacturing developed in the USA, where the best-known products were Charles Eames’s chairs of moulded wood and steel pipes. Eames’s chairs inspired Arne Jacobsen to design the now worldfamous Ant chair of bent, laminated wood from 1952 – Denmark’s first example of an industrially manufactured chair in the true sense of the word and fully in line with what the international furniture trend was producing. Arne Jacobsen was already recognised as an architect, especially abroad, but now he became equally famous as a furniture designer.