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Fuzhou: international high card “LOUIS VUITTON” Decathlon group “-HandbagsMaMa.com Feature

with a total invest of 21428 million, ” will have thi year in favor of the drum tower “cross-strait fair” drum is expect to sign the project 29 item. the world’ lead luxuri good brand LOUIS VUITTON will top shop and move into the ocean depart store. 

A ccord to reports, the headquart of the intern 5C by combin of scienc and technolog and modern oper centr project intend locat softwar Park five stage, construct by combin intern group in Fuzhou of Central Administration, technic centre, as digit inform management, technolog research and develop production, advanc technolog servic to transfer, modern logist base. 

Report learned, Etheridg Fuzhou survei project, three forest film industri invest develop project involv inspect assessment, cultur industries, is the drum us foreign capit a new breakthrough in the field. 
Internation renown brand Decathlon group sport goods, LOUIS VUITTON will have move into the drum tower. Decathlon group n.v. is a French larg chain of sport superstore. Thi is intend to be set up in the drum of the Decathlon group sport good supermarket, will serv as the region headquart of Fujian province. In addition, the better and more Chenda dawn depart store project , famou Wangfuj depart store and other retail have plan thi year China investment, the creation of an independ legal entiti and Fuzhou of Fujian province.

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Fan Bingb, The Most Beautiful People In China-HandbagsMaMa.com Feature

accord to the Hong Kong media, Beij time mai 10 messages. fan bingb befor yesterdai 8 Mai in Hangzhou attend brand activities, wa the scene of the agent take turn to bear arms, scare of the Chinese. The popular ha increas in recent year fan bingbing, no wonder mani fan closer to her at all costs. Consid sexi ladi of her earlier won the 2009 most beauti 50 peopl “. 
A part from other in the popular fan bingbing, synonym with advertis more popular in the Mainland, for exampl recent to mount a stomach advertis as onlin games, but also multipl time for the magazin photo shoot sexy, no wonder as the next gener of sexi goddess were prepared. In March thi year, she attend a Pari fashion show given LOUIS VUITTON sat in LOUIS VUITTON, Chairman and Chief Execut Officer, Yve Carel besid Show status. 

In addition, her earlier also beat Zhang Ziyi, Vicki Zhao and Zhou Xun, and so won the 2009 most beauti 50 “first, the winner is said to be about housewife. Her fascin also extend to the network, the male version of territori and fan “hole Ming becaus of her extrem similar in Network World ’s, onc he upload sever sheet with fan bingb as realli great photos, a breakthrough in the hundr of thousand of hit at night. While fan bingb and Li bingb thi “doubl ice” combinations, peopl ar forc to China’ four Chiang Zhang Ziyi, Vicki Zhao, Zhou Xun and Xu jinglei, “doubl ice” about advertis contract not certainly, power by force.

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MCASD: Museum of Contemporary Art San Diego

La JoIIa & San Diego/USA
Originally called The Art Center in La Jolla (a coastal neighbourhood to the northwest of central San Diego), the Museum of Contemporary Art San Diego (MCASD) was established in 1941 in what had once been a La Jolla residence designed by the architect Irving Gill in 1916. The museum’s founding trustees had acquired the property from the estate of Ellen Browning Scripps – a philanthropist who lived in the house until her death in 1932 – with the intention of using it to promote the visual arts as a means of enriching the lives of the community. During the 1970s it became the La Jolla Museum of Contemporary Art, with a programme focused on the work of contemporary practitioners. Since then, the La Jolla location has been enhanced and expanded, and now encompasses a three-acre, oceanfront site with beautifully landscaped gardens. In 1996 architectural firm Venturi, Scott Brown & Associates renovated and increased the size of the museum’s facilities.

Louis Vuitton replica online expert store HandbagsMaMa.com special—In parallel with the development of the La Jolla site, from the late 1980s, MCASD also invested in a series of temporary outposts in downtown San Diego. Often in storefront spaces, these venues housed exhibitions and public programmes and were intended to extend the museum’s mission beyond the oceanfront site in La Jolla to the rest of the ever-expanding San Diego metropolitan area (which includes Tijuana, Mexico). The museum’s adoption of its current name in 1990 was a means of communicating its commitment to this broader constituency. Now more than ever before, MCASD is a regionally focused, civic-minded institution with a mission to promote art as a public good. Its collections and exhibitions concentrate on contemporary art and living artists, including art that explores social and political issues.
MCASD formalized its relationship with downtown San Diego in 1993 when it established a permanent exhibition space in the heart of the city. This site is now being expanded to encompass a warehouse space adjacent to the Santa Fe Depot, a substantial 1915 building just across the road from MCASD’s original downtown space. Formerly used by the Santa Fe railway for storing luggage and freight, this historic structure is being adapted by the architects Richard Gluckman (of Gluckman Mayner Architects, New York), and Wayne Donaldson (San Diego). When the building opens in 2006, MCASD’s Downtown ‘campus’ will have more exhibition space than is currently available at La Jolla.
The identity of MCASD was created by the New York-based graphic design team 2×4. The key problem of the project was the contrast between two sites. Unable to use a contextual identity because the locations are so different, 2×4 chose an inexpressive ‘x marks the spot’ logo, a design that consists of a white, blunt-edged diagonal cross, displayed against a spectrum of backgrounds. Functioning almost as a stand-in for a ‘real’ logo, it tells you that ‘you are here’, without telling you too much about where you are. Applied to events such as MCASD Downtown’s regular TNT (Thursday Night Thing), an informal evening with activities including live bands and poetry readings, the logo proves distinctive without being descriptive. Reproduced several metres high against a red background on the exterior wall of the downtown building, it positions the museum as a major landmark, a focus for urban life.

Previous spread, left MCASD is split across two locations, downtown San Diego (pictured) and the seaside community of La Jolla. The downtown space can be found in the heart of the city and inhabits a building formerly used by the Santa Fe railway. Opposite page Applications of the MCASD identity. New York studio 2×4 was unable to use a contextual identity since the gallery’s two locations are so radically different: one inner city, the other by the ocean. The solution was a ‘non’ logo, an ‘x that marks the spot’ and says ‘you are here’. It is an effective device, especially when displayed against a palette comprising a broad range of colours. The colour palette lends itself particularly well to merchandise, such as t-shirts, rnugs and pencils. This page, top These membership leaflets show the effectiveness of the simple typography and colour scheme at the heart of the MCASD identity. This page, bottom There are three variations of the identity: one all-encompassing logotype and variations for La Jolla and the Downtown space, which is distinguished by a blue ‘x’.

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MoMA QNS

NewTork/USA
News from Handbagsmama: The galleries and offices of the Museum of Modern Art’s long-standing Manhattan premises on 53rd Street closed in 2002 for an ambitious building and refurbishment programme. The design of the distinguished architect Yoshio Taniguchi took over two years to realize, and in the interim MoMA opened a temporary venue in the old Swingline stapler factory in Queens. This structure was ingeniously adapted into a 25,000-square-foot gallery by Cooper, Robertson & Partners and Michael Maltzan Architecture. Called MoMA QNS, the opening of the new venue in July 2002 was marked with a three-hour procession from the 53rd Street building organized by the artist Francis Alys. Reproductions of some of the Museum’s most important works, including Picasso’s Les Demoiselles D’Avignon and Duchamp’s Bicycle Wheel, were carried through the streets of New York on palanquins, and the artist Kiki Smith was herself borne on a litter.

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The visual identity of MoMA QNS also concentrated on the idea of the move, although its spirit was less tongue-in-cheek than that of Alys’ parade. Under the leadership of the graphic team Base Design, the centrepiece was the new logo, which consisted simply of the museum’s old Franklin Gothic logotype with the abbreviation QNS tacked to the end in the same face. Inspired by the naming of airports (LAX, for example), these initials were intended to convey a sense of motion. In the majority of applications they appeared in blue, a reference to the dominant colour of Maltzan’s building. The most spectacular manifestation of the identity was the environmental signage and supergraphics. Working closely with the architects, Base created a large multipart rooftop sign, which, when seen from the elevated subway train, appeared to come into focus as the visitor reached his or her destination.
The most important task of the identity was to inspire audiences, seventy per cent of whom are tourists to Manhattan, to seek out the new venue. It was vital that it communicated a sense of energy, but also reas¬sured both new and repeat visitors that the MoMA QNS could deliver an experience related to that of the ‘old’ MoMA. To that end, MoMA QNS set forth a rotating installation of some of the museum’s most significant pieces alongside its temporary exhibitions programme. To communicate the notion of ‘change for the better’, Base developed a system of dynamic graphic elements such as dashes and arrows and a vocabulary of custom pic-tograms, such as icons for nearby subway and bus stops. Combined with very direct advertising taglines, such as ‘Destination: Queens’, these delivered the simple message: MoMA has moved! Base’s pictograms were also adapted for use inside the museum, offering visitor information and directions. Silk-screened directly onto the walls of the converted factory, like world’s top fashion brand Louis Vuitton they were in keeping with the spirit of the building , but did not intrude into the space.

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MoMA QNS closed to the public in September 2004, just two months before the opening of the new MoMA building on 53rd Street.

Previous spread, left The distinctive clarity of the MoMA QMS identity is revealed on the busy streets of Manhattan, on a banner promoting the museum’s new venue. This page, top This programme of events is a fine example of the clarity and simplicity of the identity. Office Bold and Office Regular, the two weights of the house typeface – a modern iteration of the typewriter -indicate the hierarchy of information, whilst arrows act as navigational tools and further suggest the transition of MoMA from Manhattan to Queens. Movement was a key theme for the identity programme, reflected by launch slogans such as ‘Same New MoMA’ and ‘MoMA Moves. Forward’. This page, below The MoMA QNS stationery reveals the extent to which the house typeface, Office, complements the logotype, set in Franklin Gothic Roman like the original MoMA logotype. The arrows and dotted lines suggest ‘temporality’, another major theme of the identity and one that remains consistent throughout printed materials, from letterheads and tickets to posters and exhibition signage.
This page, top Carrier bags designed for the shop, an essential component of any museum identity programme today. Transition and movement are again the primary themes, with the map (on the example far right) illustrating the new location of the gallery with clarity and graphic elegance. This page, below left The arrows and dotted lines employed by the designers to suggest temporality are especially appropriate on this entrance ticket. This page, below right The launch of a new gallery space, and especially one as renowned and important as MoMA, often entails a vast awareness campaign these days. When Base presented the new identity they envisaged the possible application of the identity to the Metropolitan Transit Authority’s Metrocards, with witty and direct slogans announcing the new location. Opposite page When presenting the MoMA QMS identity, Base suggested various ways in which the visual language could be used to promote exhibitions. The examples at the top of this page are particularly evocative of the gallery as venue. Where many galleries or designers would choose to promote a show by presenting a familiar work of art in its entirety, here we see only the bottom of the frame and a mere glimpse of the work itself, which subsequently allows the typography to fulfill its role with optimum clarity. Other options included using full-bleed imagery whilst still avoiding the pick-of-the-show graphic cliche. For the ‘Picasso: Works from Provence’ poster (centre row, far right) the team selected this rather charming image of the master hanging one of his own works.
 

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Function, Form, Fashion—HandbagsMaMa.com Lois Vutton

Prada wheeled Rem Koolhaas and his office for metropolitan deus ex machina

Architecture  (DMA) onto its stage like and has worked his technological magic, turning the firm’s self-described epicenter store in SOHO into an epic-center. A design treat full of the best tricks, imple,ented by the world’s top talent. Koolhaas feeds  New York’s two appetites, for learning and credit-card sliding. And finesses the fashion leader’s image from “little Prada,” a small shop in Milan, to “global superpower Prada,” mighty, corporation including several other fashion houses.

Koolhaas is a Dutchman of well-placed words and visions, meticulous and patient, holding out for perfection, and charismatic enough to get others to join his 30 month run. It’s a collaboration worthy of Ayn Rand. There is Markus Scafer, Project Coordinator and Director of Koolhaas’ production and research company Amo; Jens Hommert, overseeing video and book content; Media Designer Reed Kram, formerly with MIT’s Media Lab, for interfaces; Industrial Designer Clemens Weisshaar. Envisioning the displays; graphic artist Michael Rock and his firm 2X4, for wallpaper design; and London’s Ideo, for the dressing rooms’ frost-to-clear glass doors. As to the 30,000-square-foot (2,787-square-meter) spatial creation, Koolhaas and his DMA dreamed it up to include a two-story wave hiding a mechanical stage, an amphitheater of steps, and a hanging city of clothes and LED screens suspended from the ceiling on rails, which are compressed at night. At the heart of the design is media, from dressing room cameras playing back images of customers wearing outfits to an interactive atlas that invites shoppers to spend time with the brand-and with each other, in the tiny, dark vestibule. Touch it and find store locations, internet routes, trade routes, distribution of wealth, religions, climates. Place your hand over South America and command-view religion: a pale red cross covers your palm, like stigmata. “The interactive atlas [functions]  as a store locator, but also as a window to the larger idea of Prada,” says Kram, who designed the interactive atlas also for Louis Vuitton, the prototypes for the media within the displays, the dressing rooms, and the hand-held devices. “It’s disingenuous to pretent [Prada] is a small company. [But] It also diffuses the idea of the multinational corporarion as [being] something of a threat.” What works in New York and fits culturally in San Francisco and  Los Angeles will be incorporated to those cities’ projects and filtered down to the brand’s 300 other stores. Weisshaar’s 62 portrait format screens provide “serivce” databases of fashion inventory for shoppers as well as what Koolhaas refers to as “aura”—Prada teams training in the morning; Prada factories and the tuscany roads leading to them; Prada’s runways. The 20 largest screens are suspended between the garments from hang bars; 20 more rotate; 6 others lie without mechanical support. “It was a massive push to develop software,” says Weisshaar, “an internal structure capable of being suspended from one tiny little hook! The crew work impeccably and alone against deadline. Weisshaar hired EMECO, makers of Philip Starck’s lightweight chairs, for the display enclosures; Scharff Weissberg to build a custom graphics card and RF LAN network; and Wagner Rapid tooling for the manufacturing of the Versailles-like attention to internal structures.
The very best materials and journeymen sustained a project whose goal was “to show what Prada really is about, by revealing things normally not showing in the fashion world, and show to restore the exclusiveness, the Italian-ness of Prada,” says Weisshaar.

Italian-ness: a fusion of quality-oriented values and industrial ones; of multiplication occurring in a sophisticated way. It’s about passion. The final act in this post-modern play: the interactive atlas showing where to but fake Prada and Louis Vuitton handbags. “It’s a clear statement made by Prada,” says Weisshaar. “As Rem says: the ultimate luxury is not to buy anything.’”

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refusing extended warranties

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Buy anything these days and chances are you will be pitched an extended warranty along with it. “Don’t you want to protect your investment?” It’s amazing how a salesperson will spend 10 minutes telling you how great something is, only to then tell you how it’s likely to break down and need repairs once you’ve bought it.
You should know that extended warranties, also called serv¬ice agreements, are a profit generator for stores—a cash cow. That’s why employees are pushed by upper management to sell them and are especially eager to do so if they are on commission.
Extended warranties can be expensive, at as much as 20% of the purchase price of the product. If you buy a $100 DVD player, you don’t really need to spend another $20 just in case something goes wrong with it. It probably comes with a one-year warranty anyway, and if you buy it using a major credit card like a Visa or MasterCard, in most cases the warranty doubles so you are already up to two years’ protection. Also, chances are, if something is going to go wrong with it, it usually happens not long after you get it home.
Consumer Reports magazine studied repair rates on consumer goods and found that extended warranties are rarely worth buying.
Statistics show that the odds a product will fail in the first five years are one in four. Depending on what you’ve purchased you may want to replace it rather than fix it anyway. The cost of a repair could also be close to what you would have paid for the extended warranty in the first place.
Extended warranties may be from a third party, so you may not even get service from the store you bought it from. Another tier of customer service can lead to delays.
If you do buy an extended warranty, never lose your paper¬work, as the company may say the onus is on you to prove that you do have coverage. No paperwork could equal no coverage.
Extended warranties are sometimes worth having and there may be extra features that make them worth considering. When we bought our refrigerator, we were told that if we purchased an extended warranty for $100 we would receive three water filters (for the water dispenser and ice maker) that were worth $30 each, so it seemed like the warranty was worth getting. As luck would have it, the ice maker quit working two years later and did need service (I have since found out there is a big problem with ice makers in refrig¬erators). In this case, it paid off for us. Extended warranties may also be a good idea for expensive television sets, treadmills and laptop computers, because they can be expensive to fix.
I get many consumers asking me about extended warranties for cars. The general rule is that warranties offered through car manufacturers and new car dealers are more reliable than war¬ranties offered by used car dealers (third parties). That doesn’t mean that when your three-year warranty on your car is up you should pay another $1,500 to extend it. Many of these warranties are expensive and offer extremely limited protection. I’ve had com¬plaints from the public about used car warranties that say they will only cover new parts that fail. Well, every part on a used car is used, so the warranty is useless.
Usually you are better off putting the money for the warran¬ty in the bank. That way you will have the money there for your first repair, and if there are no breakdowns you will be ahead.
The best advice is not to get pressured into agreeing to spend more money on extended warranties just because a salesperson is advising you it’s a good move. You should spend as much time con¬sidering the warranty as you did the item you were purchasing.

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Auction of Three Hundred Watches, Sotheby’s Largest in Seven Years

News from Louis Vuitton replica expert HandbagsMaMa.com, the Hong Kong 2010 designer watches spring auction held on April 7 at the Hong Kong Convention and Exhibition Centre is Sotheby’s largest watch auction in seven years. Over 330 designer watches that valued totally of more than 35 million Hong Kong dollars (4.48 million US dollars) are sold in the auction. According to the introduction, this auction is the first time to provide online auction service, so clients can go through the live online video to join the competition. The show will launch a series of special private collections, which includes several precious titanium watches of the Important Private Collection and some fabulous watches made between the 1970s and 1990s of the Splendid Style Private Collection.

Classic Lange tourbillon about 1.5 million Yuan

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The watch director of Louis Vuitton replica expert HandbagsMaMa.com said that Chinese market was growing, thus making this auction the biggest in the near seven years.

The highlight of this auction is a highly representative Lange limited edition rose-gold tourbillon band watch that is worth from one to on and a half millions. This watch is produced in about 1996, and Lange launched 50 watches made from platinum, 15 white gold, 120 18 k gold and 15 rose gold Tourbillon ‘PourLe Mérite all in limited edition from 1994 to 1998, and the one available in the auction is one of the rare rose-gold watches.

Patek Philippe has set a world auction record

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Patek Philippe is one of the hottest brands that purchased by collectors. The auction will sell plenty watches of this brand, such as Patek Philippe 5004P platinum diamond Split Second Perpectual Calendar Chronograph. The watch is one of the most complex chronograph watches of Patek Philippe, it adopts C27-70Q movement and Patek Philippe’s patent rewarded special Split Second Perpectual structure, the watch is accurate to one second. In the Hong Kong 2008 Sotheby Auction, a 5102G 18K platinum Patek Philippe watch was sold at a skyhigh price of over 3.12 million HKD, which broke the record of word auctions.

Silver titanium watch displays unique charm

RM002 Titanium tourbillon Manual-winding watch getreplicawatches.com

The Important Private Collection includes many rare titanium watches. Titanium is first used in aerospace and military applications, it is lighter than steel but stronger then iron, highly corrosion-resistant, and its splendid silver gray luster makes it popular for collecting. The focus of this private collection is a RM002 Titanium tourbillon Manual-winding which made by independent watch-making master—Richard Mille, valuating at about 640,000 to 800,000 HKD. The watch is one of best works of independent edgy watch industry by its complex functions and exquisite workmanship.

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Provoking the Senses—HandbagsMaMa.com Louis Vuitton

Scent and memory are so deeply connected that when artist Jenny Holzer put her electronic signs in clothing and fragance designer Helmut Lang’s Greene street stores, she evoked a proustian remembrance of things past. Emotionally charged words fly by the eye, ticker tape-style, jolting the unguarded viewer into a licit and forbidden range of memories. The Lang text —and Holzer’s thoughts about the commingling of her art and his designer—are printed below

I walk in
I see you
I watch you
I scan you
I wait for you
I tickle you
I tease you
I search you
I breathe you
I talk
I smile
I touch your hair

You are the one
You are the one who did this to me

You are my own
“I wouldn’t have done anything like this if it hadn’t been for Helmut. He’s a friend.  Those pieces aren’t advertising; they are artworks in public spaces.”
I show you
I feel you
I ask you
I don’t ask
I don’t wait
I won’t ask you
I can’t tell you
I lie
“I call this the ‘arno text’ after the river in Florence, where I placed an installation for the 1966 Art & Fashion Biennale. I projected the text on the river, and that was the first time I worked with Helmut. Ingrid Sischy paired us up, we collaborated on an installation in a pavilion designed by Isozaki, with eletronic signs of mine, and Helmut made up a scent. So the atmosphere of the pavilion was affected by the text and by the scent. The scent and the text were together at the inception.”

I am crying hard
There was blood
No one told me
No one knew
My mother knows

“People who go into shops are conscious of the body—as  Helmut’s clothes tend to make one feel. This writing also has much to do with flesh. It’s a very naked text: it needs clothes.
One text is lying down. One text is vertical; it rises.”
I forget your name
I don’t think
I bury my head
I bury your head
I bury you with Louis Vuitton replica
My fever
My skin
I cannot breathe
I cannot eat
I cannot walk
I am losing time
I am losing ground
I cannot stand it
I cry
I cry out

“I   was thinking about love and tragedy.  Loss. And then love again.  Tragic romantic loss.
Relative to death. There’s a dose of betrayal thrown in there.  Perhaps then, there’s the return of love.”
I bite
I bite your lip
I breathe your breath
I pulse
I pray
I pray aloud
I smell you on my skin

“It always is personal, but it is not a recounting. I like things to be potentially relevant to as many people as possible.”
I say the word
I say your name
I cover you
I shelter you
I run from you
I sleep beside you
I smell you on my clothes
I keep your clothes

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Find the Classic His-and-Hers Watch III

It is definitely not a fad that couples are fond of watches, because they are more practical than diamonds and value-proof. Here we have selected a classic school of his-and-hers watch for you.
The Luxurious Type
We must accept that since some people like the modern and simple lined BurjAl-Arab Hotel in Dubai, then some people will think that only The Golden Hall of Vienna is the real miracle of architectural history. As the former are in desperate pursuit of simplicity, the latter are intently looking for luxury. Magnificent, brilliant, these words are dedicated to people who are willing to replace simplicity with luxury.

Style: splendor

Target group: Old bourgeois couples

Carl F.Bucherer Manero Series

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Although the brand of Bucherer isn’t as extravagant as Patek Philippe, this pair of couple watches is no mediocrity. The His watch has perpetual calendar while the Her watch has speed timing function. Moreover, for both the men’s and women’s watch, Bucherer has used diamond mosaic design on the bezel and dial. With a rose gold case, this pair makes a perfect luxury babe with its three-in-one combination of crafts, material and functionality.

Tips
For the luxurious style, the first important element is brand, top brand is always the most representative fact for luxury. Next is the materials that make the case, in general, luxury watches always use precious materials for the watch case. And last, luxury is not just about the price, there are some watches containing special significance which make them excellent items worth collecting.

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