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Pyrus Dos Fire Torch by Andres Monnier

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Pyrus Rock Installation by Andres Monnier
Located in Geneve, CH
Pyrus Rock Installation by Andres Monnier One of a Kind. Dimensions: W 300 x D 300 x H 300 cm Materials: Basalt, Stainless Steel Stone options available: Grey, black and white marble...
Category

2010s Mexican Post-Modern Abstract Sculptures

Materials

Stone, Stainless Steel

Prometheo Dos Fire Table by Andres Monnier
Located in Geneve, CH
Prometheo Dos Fire Table by Andres Monnier Dimensions: D 180 x W 100 x H 40 cm. Materials: Grey Quarry stone. This piece is a variant of the original...
Category

2010s Mexican Post-Modern Fireplace Tools and Chimney Pots

Materials

Stone

Ritus Dos Candelabra by Andres Monnier
Located in Geneve, CH
Ritus Dos Candelabra by Andres Monnier. One of a Kind. Dimensions: D 120 x W 35 x H 70 cm Materials: Black marble. Designer's biography Treko concrete is a Mexican studio...
Category

2010s Mexican Post-Modern Candelabras

Materials

Marble

Divergente Dos Table by Andres Monnier
Located in Geneve, CH
Divergente Dos table by Andres Monnier One of a Kind. Dimensions: D 160 x W 100 x H 70 cm. Materials: black marble. A divergent boundary occurs when two tectonic plates move aw...
Category

2010s Mexican Post-Modern Tables

Materials

Marble

Fractus Sculptural Seating by Andres Monnier
Located in Geneve, CH
Fractus sculptural seating by Andres Monnier. One of a Kind. Dimensions: W 120 x L 50 x H 50 cm. Materials: Coralina clasica. Stone options availabl...
Category

2010s Mexican Post-Modern Benches

Materials

Stone

Psicodelia Sconce by Andres Monnier
Located in Geneve, CH
Psicodelia Sconce by Andres Monnier Dimensions: D 130 x W 15 x H 40 cm Materials: black marble Andrés Monnier, born in Guadalajara but based in Ensenad...
Category

2010s Mexican Modern Mounted Objects

Materials

Marble

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These pure white sconces sit upon torch like bases, illuminating the room in the fusion of classical and romantic forms, typical of the neoclassical period. Alabaster lighting was the first used electrical lighting in Europe, prized for its ability to softly diffuse light. As mentioned above, the Neo-Renaissance style was in reality an eclectic blending of past styles, which the architect selected on the whims of his patrons. In the true Renaissance era there was a division of labour between the architect, who designed the exterior highly visible shell, and others—the artisans—who decorated and arranged the interior. The original Italian mannerist house was a place for relaxation and entertaining, convenience and comfort of the interior being a priority; in the later Baroque designs, comfort and interior design were secondary to outward appearance. This was followed by the Neoclassical period, which gave importance to the proportions and dignity of interiors, but still lost the comfort and internal convenience of the mannerist period. It was during the Neo-Renaissance period of the 19th century that the mannerist comforts were re-discovered and taken a step further. Not only did the improved building techniques of the 1850s allow the glazing of formerly open loggias and arches with the newly invented sheets of plate glass, providing the first "picture windows", but also the blending of architectural styles allowed interiors and exteriors to be treated differently. It was at this time that the concept of "furnishing styles" manifested itself, allowing distinctions to be made between interior rooms...
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