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The Terrace, a building of various creative industries managed workspace, off Grantham Street in Lincoln, Lincolnshire.
It contains 50 workshops, studios and offices and prides itself on the reception service offered being to an excellent level. There is a Large Conference Room, Boardroom and two smaller size meeting rooms and an onesite Café Portico. All avalible to be hired.
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My amazing husband remodeled our Columbia River floating home. This 2nd floor loft used to be our bedroom. We now have a beautiful new bedroom with an attached sunroom. The loft has become my happy, creative space - what a wonderful gift from my husband!
At least this small area of the room is finally complete. (Who knew how much time raising a toddler could take up?)
My Jeu de paumes books, wich I looove !! the cutest pillow from the RVA girls, the babouschka's are from Ikea.
The vintage items you see here aren't part of a deliberate theme on my part. Everything simply came together over time.
1. 20-inch Dell 2009w LCD monitor. I bought this in 2008. It's great for text, but the color isn't up to snuff for production work. (Oh, and hiding behind that lovely illustration by Carolyn Arcabascio, is the working draft of The Murk, which I am currently editing.)
2. Western Electric model 500 telephone (sold from 1950 to 1984). This is my high-tech communications system. I picked it up at a yard sale ($5) several years ago because I was getting tired of buying new batteries for my cordless phone. It still dials out, but when confronted with an automated message system and asked to press "4" or whatever, I just have to hang up.
3. Panasonic Electric Pencil Sharpener, model KP-77 S (probably early 70s, with Auto-Stop!). My trusty friend, bought by my wife for $3 at a church bazaar. Amazingly, you can still buy replacement parts for this model.
4. Sony MDR-V700DJ headphones. My portable orchestra. I bought these in 2001, shortly after purchasing an iPod, because said iPod couldn't pump out enough juice to drive my old AKG 260s.
5. 15-inch Apple Macbook Pro (Winter 2006). Tucked behind the monitor, Graphic Mayhem rests in a little wooden bracket and runs in closed-lid mode when it's not doing color work.
6. Apple Pro Keyboard (2000). The computer this came with is gone now, but I kept the keyboard because Apple built it to outlast the sun.
7. Apple Mighty Mouse (2005). I have no clear memory of how I acquired this mouse, but it's still on the job.
8. Picture of an Egyptian chariot (gift from a friend), because chariots are cool.
9. Webster's New International Dictionary of the English Language, Second Edition (1938). Yes, it's old, but it still beats the hell out of any other dictionary I've ever used.
10. Two Rinn. These were a Christmas gift, hand-made by my wife and children. They are more precious to me than my weight in 1st edition hardbacks of The Princess Bride, by William Goldman (Fine in Fine dust jackets). And THAT, my friends, is saying something.
11. Placebo coffee (or sometimes placebo tea). It's hard to see in this photo, but it's right here on the corner of this middle shelf.
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I'd like to say a warm Hello to all my dear flickr friends out there in the world!
I'm so glad that we found eachother and keep to get inspirations from one to another!
Have a wonderful and creative week!
Hugs to you from Germany
Carola xox
P.S.:
A friend took this photo of me in my studio while visiting me in the merry month of May this year.
... in my creative space.
Ikea Expedit shelves.
More storage, but as you can see, I shared the bottom half with the boys ... :P
I am very happy about it. I really needed extra room next to the two desks.
Explore # 168 :) thank you !
Computer corner on the left, with also cookbooks & craft books on the shelves.
Sewing / craft corner on the right, with fabrics, buttons, ribbons, crochet laces, stamping essentials, watercolor essentials, on the shelves and on the desk itself.
My (finished) pincushions & handmade stuffs are in the drawers, protected from light.
Aug 15th 2009
EXPLORE #491 (Aug 15th)
An accessible entrance ramp glows lime green in the early morning light at Pier 70, creating a striking color accent against the weathered industrial architecture. This photograph captures the thoughtful integration of contemporary accessibility features with historic shipyard buildings, showing how adaptive reuse projects can honor the past while meeting modern building codes and standards.
The lime green painted ramp—both the surface and the safety railings—makes an bold statement, transforming a purely functional ADA-compliant element into a design feature that adds visual interest to the historic facade. This color choice feels intentional rather than arbitrary, providing wayfinding through color coding while injecting contemporary energy into the space. The yellow tactile warning surface at the ramp's edge adds another safety-mandated element that becomes part of the overall color composition.
Behind the ramp, the entrance itself features painted doors and trim, also in that distinctive lime green, creating a cohesive treatment of all contemporary interventions. The illuminated doorway reveals warm interior lighting, suggesting active occupancy and welcoming visitors into what appears to be office, studio, or retail space within the converted industrial building. Modern exterior lighting fixtures mounted above the entrance provide security and visibility while maintaining an industrial aesthetic appropriate to the context.
The building's facade tells multiple stories through its layered materials and textures. White-painted horizontal siding dominates the lower level—likely original shipyard construction or an early modification. Above, a massive wall of steel-framed multi-paned windows catches the golden light of early morning, their green-painted frames echoing the color choices made for the entrance elements below. To the right, an exposed brick wall section shows the raw industrial bones of the structure, complete with large rust-colored metal brackets or structural elements that once supported equipment, cranes, or building systems.
The architectural scale is impressive. Those towering window walls would have lit vast interior spaces where ships were built, repaired, or outfitted with machinery. The multiple stories of glazing speak to the generous ceiling heights necessary for industrial operations—advantages that contemporary tenants appreciate for their sense of volume and abundant natural light. The colorful building visible in the background left, with its distinctive banded appearance, provides context for the diverse architectural approaches across the Pier 70 campus.
The deep blue predawn sky creates a dramatic backdrop, that rich saturated color that only appears during the earliest morning hours or latest evening twilight. This timing allows the artificial lighting to register strongly—the illuminated doorway, the glow on the lime green surfaces, and the strategic exterior fixtures all become compositional elements that define form and space in the low ambient light.
The empty courtyard and the long shadows cast by the ramp railings emphasize the quietness of this early hour. There's a solitude here that invites closer examination of details that might be overlooked during busy daytime hours. The concrete paving shows signs of industrial use—stains, patches, wear patterns—reminding us this was a working space long before it became a destination for creative businesses and urban explorers.
The juxtaposition of preservation and modification is handled with sensitivity. The lime green interventions announce themselves as contemporary additions rather than attempting to mimic historic materials. This honest approach to adaptive reuse respects both the building's history and its current function. The accessibility ramp isn't hidden or apologetic—it's celebrated through color and lighting as an essential element that makes these historic spaces available to all users.
From a preservation standpoint, this approach represents current best practices. Modern building codes require accessibility, life safety systems, and other features that didn't exist when these structures were built. Rather than trying to invisibly integrate these elements, contemporary preservation philosophy embraces a "reversible and identifiable" strategy where new interventions are clearly distinguishable from historic fabric. The lime green entrance is unmistakably a 21st-century addition that could theoretically be removed without damaging the underlying historic structure.
The composition itself is carefully considered—the diagonal line of the ramp, the vertical emphasis of the windows, the horizontal banding of materials on the facade, and that strong lime green accent all work together to create a dynamic image that's about both past and present coexisting in San Francisco's evolving waterfront district.
I spent most of the day decluttering, dusting, cleaning, reorganizing my creative space, it's almost done now. Then I suddenly felt the urge to add happy lights.
happy lights .... checked.
a young football fan, jersey number 21 fluttering, is caught in a moment of innocent contemplation at an art gallery. the black and white photographs before him, a stark contrast to his colorful attire, invite a curiosity that transcends age. it's a scene of cultural immersion, where the vibrancy of youth meets the stillness of captured time. this small spectator, dwarfed by the scale of the artwork, represents the purest form of engagement: a child navigating the expansive world of visual art. and maybe he is just a little man ;)
Not long ago I started a collection of glass tree toppers, so far I have only 3 and two of them are old/vintage ones. I like to display them on glass bottles in my studio shelf at Christmas time.