Seaside Home Decorating - Vintage Bar Decor - Movie Night Decorations.

Seaside Home Decorating

seaside home decorating

    home decorating
  • Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment.

  • (Home Decoration) Painting & Calligraphy Candles Photo & Painting Frames Sculptures Candle Holders

  • the shore of a sea or ocean regarded as a resort

  • Seaside (formerly, East Monterey) is a city in Monterey County, California, USA, with a total population of 33,797 as of the 2008 census. Seaside is located east-northeast of Monterey, at an elevation of 33 feet (10 m).

  • A place by the sea, esp. a beach area or vacation resort

  • Seaside is an unincorporated master-planned community on the Florida panhandle in Walton County, roughly midway between Fort Walton Beach and Panama City. It was founded by builder/developer Robert Davis in 1979 on land that he had inherited from his grandfather.

seaside home decorating - Seaside Style

Seaside Style

Seaside Style

Seaside, Florida is a town designed as an "ideal" community in the Southern vernacular style, where houses have front porches and verandahs, picket fences and sleeping porches, and pitched tin roofs with ample overhangs. Seaside, along with other new planned towns and communities, sets an important precedent for all new small towns and will long be looked to as a model for those living in tropical climes, on the water, or in coastal communities.

Now, for the very first time, the reader is given a privileged view of the inside of this extraordinary community-how people actually live in it-how they have arranged their spaces, furnished their homes, and planted their gardens to take advantage of the beauty by which they are surrounded. This book, as the title suggests, lays out a vision of coastal living based on this ideal community.

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A two page spread for Schiltz, with a series of bucolic images. Counterclockwise from top left:

A white man tromping up the stairs of a tree house with a picnic basket, while a blonde reads a book and drinks a glass of Schiltz.

A group of white people sitting around a table, drinking Schiltz and talking to a man behind a bar.

A group of white people dining outdoors under an arbor, with a large fireplace and a man cooking.

A group of white people gathered in a game room, with several bottles of Schlitz prominently positioned.

A bottle and a can of Schlitz, next to a filled glass.

Advertisement text reads:

"Informal Hospitality in settings ideal for THAT FAMOUS FLAVOR of Schlitz

Upstairs--downstairs--somewhere around the house is a place for an informal "hospitality corner." Its purpose is to make entertaining easier, more enjoyable. When gatherings of congenial couples are planned, or when neighbors drop in, this friendly spot is a perfect background.

Here, too, is the place for the midnight snack, the Dutch lunch, the brimming glasses of pale-gold Schlitz. The brewers of the beer that made Milwaukee famous have asked an outstanding authority on home design--a prominent contributor to home decorating magazines--to suggest a few of the many possible treatments for "hospitality corners." His sketches and comments are found on these two pages.

These suggestions are intended, not as complete plans, but merely as basic ideas--leaving you free to work out your own adaptation to you particular home. It's a word of fun to make a "hospitality corner" and an endless source of pleasure after it's finished.

Dry...not sweet...neither is it bitter.

People who like real beer invariably love Schlitz. Its fragrant, distinctive bouquet is proof of its true-beer goodness. This great brew captures the piquant tang of the hops, yet it is not bitter; the full-bodied richness of the male, yet it is not sweet. That famous flavor is cherished around the world.

That famous flavor of Schlitz comes to you intact in every bottle. Here's why: The air that sustains life can destroy the flavor of the beer if sealed in the bottle. So--we take the air out of the bottle an instant before we put the beer in. An amazing new method that assures you brewery-fresh goodness always. Schlitz pioneers again!

[company logo]

Copr. 1919 Jos. Schlitz Brewing Company, Milwaukee, Wis.

'The Roost'--a platform buried in the foliage of a big tree. There is a restaurant in a suburb outside PAris, called "Robinson," which is set in a grove of huge old trees. The patron has built dining platforms at various levels high in the branches of the trees, reached by winding rustic stairs. Here the delighted guests are served their dinners amid the twitter of birds and the rustling of the wind through the leaves. What could be more pleasant than to loll in a deck chair on a hot summer day, cool in the privacy of a leafy green cave, with a picnic lunch and a cold brown bottle?

'The Bosun's Rest'--an English Seaside Inn. An unused corner of the basement, partitioned with random width pine boards lightly stained. Existing cellar beams sprayed with stain to make the inn ceiling. High backed settles with leatherette cushions in bright red or green--ship models, hurricane lamps and other nautical equipment on brackets--linoleum in a brick pattern on the floor. A quaint swing-door bar carved out of the space under the stairs, with rows of pewter pugs, musty kegs, and gleaming pilsner glasses on the shelves. Furnished with simple oak tavern tables and sturdy windsor chairs.

'Al Fresco'--A Dining Terrace with a Shelter House. The shelter, which may either be attached to the home or built in some picturesque spot in the grounds, can be very simple--merely a framework roofed with roofing paper and with the back boarded up. Or it can have a brick or rough stone wall with venetian blinds at the ends and front for shelter. The interior might be whitewashed and a high shelf could be decked with bright colored peasant pottery and copper as well as potted plants. It should contain a long settle, a trestle table, some iron or wooden chairs and several deck chairs. The arbor to have grapevines trained over it and an outdoor fireplace at one end for cooking.

'The Big Top'--A Game Room under canvas, in the attic. Ceiling rafters of the attic concealed by a circus tent" of brightly striped awning cloth which hands from a wire strung just under the ridge pole, the tent to have scalloped edges. If necessary, walls can be finished with wall board, with closets in the corners for the game paraphernalia, the doors to be decorated with brightly painted copies of playing cards. Floor either of painted wood or linoleum with shuffleboard painted in white. A ping-pong table (if space permits). A dart game, broad comfortable settle with plenty of cushions and of course some bridge tables and chairs."

parachute jump

parachute jump

Coney Island

Foreground: Childs' Restaurant Building, designed by Dennison & Hirons, terra cotta details by Atlantic Terra Cotta Company (Former home of Lola Star's Dreamland Roller Rink)

Coney Island institutions have a way of disappearing without leaving anything on the boardwalk to remember them by. That is not the case with Childs' Restaurant, the seaside outpost of a popular early 20th Century lunchroom chain, that was built in 1923 and whose frame still stands today. If you've ever taken a stroll on the boardwalk, west of the parachute jump and Keyspan Park, you've probably noticed its massive facade, adorned with flamboyant nautical details. It has stuck around for so long partly because it’s kept a steady number of tenants over the years, including a chocolate factory and most recently a glitzy roller rink. The building is now completely vacant and boarded up. Here’s the story of the great restaurant that once stood there, and how the building has survived to this day.

Background: Coney Island Parachute Jump

The Parachute Jump is a defunct amusement ride in Coney Island, Brooklyn, New York, whose iconic open-frame steel structure remains a Brooklyn landmark. 262 feet (80 m) tall and weighing 170 tons (150 tonnes), it has been called the "Eiffel Tower of Brooklyn". It was built for the 1939 New York World's Fair in Flushing Meadows Park, Queens, and moved to its current site, then part of the Steeplechase Park amusement park, in 1941. It is the only portion of Steeplechase Park still standing today. The ride ceased operations in 1968. The ride was based on functional parachutes which were held open by metal rings throughout the ascent and descent. Twelve cantilevered steel arms sprout from the top of the tower, each of which supported a parachute attached to a lift rope and a set of surrounding guide cables. Riders were belted into a two-person canvas seat hanging below the closed chute, then hoisted to the top, where a release mechanism would drop them, the descent slowed only by the parachute.

The ride was built in 1939 for the World's fair, and towered over the fair's "Amusement Zone". The Life Savers company sponsored the ride, investing $15,000 and decorating the new tower with brightly lit candy-shaped rings. Eleven parachutes were used, leaving the tower with one empty arm. Adult riders paid 40 cents, children a quarter. The trip up took about a minute and the drop down was over in 10 or 20 seconds.

After the fair, the Tilyou family, owners of Coney Island's Steeplechase Park, purchased the Parachute Jump for $150,000. It was disassembled and moved to its current location adjacent to the Riegelmann boardwalk, between West 16th and West 19th Streets. The ride required some modifications in its new windier shore-side location. Steeplechase Park closed in 1964, the victim of rising crime, neighborhood decline, and competing entertainment.

In 2005, the Parachute Jump was the focus of an architecture competition by the Coney Island Development Corporation and the Van Alen Institute which drew over 800 entries. The 7,800-square-foot (720 m2) Parachute Pavilion, at the base of the Jump, will be an all-season activity center including a souvenir shop, restaurant, bar, and exhibition space. The winning design team was Kevin Carmody,Andrew Groarke, Chris Hardie and Lewis Kinneir, of London. Their design follows strict guidelines to harmonize with the landmark structure, including a maximum height of 30 feet (9.1 m).

seaside home decorating

seaside home decorating

Mary Emmerling's Beach Cottages: At Home by the Sea

beach house.
The words alone have the hypnotic associations Henry James once famously ascribed to summer afternoon–“the two most beautiful words in the English language.” Lifelong beach girl Mary Emmerling captures that implicit promise of freedom in her captivating volume celebrating the American beach cottage.

Much of the beach house’s allure is in its reflection of a simpler way of life, a pared-down existence where the breeze is the housekeeper, the furnishings don’t mind a damp swimsuit, and the most precious treasures are seashells and memories. In Mary Emmerling’s Beach Cottages, Mary invites us into seventeen coastal retreats that capture that spirit, and introduces us to the people who take joy from them.

Join Mary on a warm, intimate tour of unique seaside escapes, including:

•A pint-sized artist’s studio in Key West
•A dramatic black-and-white retreat in Newport Beach, California
•A shell-lined jewel box in Laguna Beach, California
•A nautically inspired Cape Cod getaway
•A haven in Galveston, Texas, with sea-grass rugs and matchstick blinds
•The homes of designers such as Barclay Butera and Rachel Ashwell
•Mary’s own charming cottage, complete with beach balls, sailfish, and beaded curtains

With gorgeously photographed profiles of easy-going seaside homes and innovative design solutions for everyday living, Mary Emmerling’s Beach Cottages is both beautiful and inspirational. Like a beloved seaside haven, this is a book to return to again and again.

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