New & Exclusive with 25% off @ Redeux Oct Round:

The culina & thermopolium package from our Civitas Series contains 14 item to decorate your roleplay environment in any ancient roman or greek setting. It suits any tavern or private kitchen/culina.

In the ancient Greco-Roman world, a thermopolium was a commercial establishment where it was possible to purchase ready-to-eat food. The forerunner of today's restaurant. These places were mainly used by the poor or those who simply could not afford a private kitchen.

Thermopolium, hearth and worktable contain animations and rezz props.

Item list:

Culina Working Table, 3LI, c

Culina Thermopolium, 5LI, c,m

Culina Hearth 5LI, c,m

Culina Herb Basket 3LI, c, resize

Culina Amphora Rack 1, 2LI c,m

Culina Amphora Rack 2, 3LI c,m

Culina Amphoras 2LI, c, resize

Culina Basket of Panis 2LI, c, m

Culina Dishes Shelf 2LI, c,m

Culina Jugs Shelf 2LI c,m

Culina Panis Cutting Board 2LI, c,m

Culina Spice Rack 3LI, c,m

Culina Storage Pots 1LI, c,m

Culina Vegetable Basket 3LI, c, resize

Please have a look at the other items and buildings of our civitas series, if you are generally interested in roman/ancient roleplay and decoration.

The set fits perfectly into the tavern of our civitas series.

Here is an picture of a Formaspace work bench which can be used in industrial, technical, or laboratory settings.

this is my view when i'm sitting at my worktable.....i get to see all my clothes!

shelburne, nova scotia

1973

cooper's workbench, barrel factory

part of an archival project, featuring the photographs of nick dewolf

© the Nick DeWolf Foundation

Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com

mystic, connecticut

1974

seaport village

part of an archival project, featuring the photographs of nick dewolf

© the Nick DeWolf Foundation

Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com

Book Photographed by Beekeeper for reference purpose

The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.

These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.

I implemented my pattern sheets on earrings & beads.

The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –

Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.

This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.

20 patterns came out of my personal laboratory, but the combinations are infinite!

www.polypediaonlineexpress.com/product/complete-inkredibl...

If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -

www.polypediaonlineexpress.com/inkredible2-inkredible-mac...

Here is an example of a laboratory furniture that a client designed using the 3D Tool

Before and after shots of my studio table. Everything is on wheels so it can be packed and hidden. I need a REAL studio!

Glimpse into my workspace in my apartment.

Utrecht University Library – Wiel Arets Architects

Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004

The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.

The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.

The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.

The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.

I found this little spool shelf on a sweet date with my English and Geography teachers from high school, and my dear mom sent it from Oregon. I've been loading it up with little treasures on my worktable.

We went camping in Algonquin Park in 2005. We rented a couple of plastic kayaks and the kids loved it. We came home with the intention of buying a couple of kayaks but while on the internet we saw these stitch and glue make'm yourself boats. I purchased the books "The New Kayak Shop" and "Kayaks You Can Build". Both are available at Chapters or Amazon.com. We decided this was something we could do. We also discovered www.clcboats.com which would prove to be a tremendous resource of encouragement during the project. We made a day trip to Toronto to Noah's Marine www.noahsmarine.com to purchase plans for a Chesapeake Light Craft 16 and some marine grade plywood. The books have some great suggestions for worktables. We made a 17' one from some 3/4" plywood and some stands from scrap 2X4's from a recent renovation.

Work in progress, modeled from fondant, painted with silver lustre dust and leaf glaze. Will be part of a 21st birthday cake, a newcastle knights footy jersey. modelled using debbie browns instructions. Not the best background, my worktable.

Here is an example of a laboratory furniture that a client designed using the 3D Tool

Blogged here.

Here is a picture of a Formaspace bench with sink.

Utrecht University Library – Wiel Arets Architects

Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004

The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.

The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.

The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.

The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.

I took these photos last summer right before a big clean-up. I was going to do before and after shots, but I guess I was too exausted to do the after ones. Truthfully this is what it usually looks like when I am doing art. I clean it up, but I waste it lots faster than I clean.

1. U-Turns Prohibited, 2. Old snow photo possibly 1970's, 3. Ball Gown, 4. 'Bumble Organ', 5. Disassembled camera, 6. Happy Trio-front view, 7. Morning tapestry 11.11.06, 8. 1821 house~rusty tin roof,

9. 11.08.06, 10. Back view-Happy Trio 2005, 11. Travelers front view, 12. Year of the Rabbit, 13. 'Happiness runs in a circular motion...', 14. early_morn_Ben Nevis Scotland'72, 15. Jillian Box, 16. Wild Blueberries,

17. Moonrise 12.04.06, 18. View from studio window, 19. Horse, 20. InkSketch, 21. stone wall & gate, 22. American Heritage War Machine, 23. Vintage magazine cover, 24. My Dad,

25. Sammy, 26. Shaman, 27. Roses for Beth, 28. Sketch, 29. Paul-stamp, 30. U-Turns Prohibited back view, 31. SeaHorse, 32. broken horses,

33. netsuke goldfish, 34. Artwell Gallery 2, 35. worktable, 36. ghost image?, 37. Beatles tribute, 38. Morning sunlight, 39. Benjamin, 40. Buddha at top of stairs,

41. Number 27, 42. Moon Nov 4.06, 43. Bookshelves, 44. Drought, 45. Horse A 03_24_06, 46. Botanical drawing, 47. Pals (for Darin), 48. Out of control work table,

49. Dinner 8.18.06, 50. Sunset Midmar SA, 51. Visit to Santa, 52. Friends, 53. homage to Mardi Gras, 54. Codfish box, 55. Animal Book cover, 56. Fri Jan26, 2007,

57. Warning, 58. Little Red Riding Hood, 59. Misinformation 101, 60. Marmite, 61. Digestive biscuits, 62. Cushion cats Jan 9 07, 63. Black bird, 64. Sunrise Aug 18th,

65. Number 27, 66. Peace card stencilled, 67. 1967 leaves, 68. Asthmador, 69. Turkey 11.05.06, 70. Mumsie in the sun 2, 71. Stones 45rpm cover, 72. Moss and Slate

Created with fd's Flickr Toys.

Here is a picture of a Formaspace Delux workbench. The work surface can be raised or lowered independently of the table frame.

The kiddo's shelves. He retrieves the supplies he needs and works at the kitchen table. One day, we'll have a bigger house and bigger homeschool area. At that point he will have a desk and a worktable.

Welcome to SugarPlumDolls.com I think my cute clothespin dolls make fabulous Christmas ornaments or gifts BUT are now also available as greetings cards, postcards and more..Just to let you know all dolls are individually handcrafted clothespin dolls and make very special gifts or can be used as a holiday ornament. I think they add a personal touch to the holidays! It takes me about 2 to 3 days to make each doll. Each doll has her own personality. No two dolls are alike, some dolls may be similar but because of the handmade process each doll is unique. Some dolls may have slight imperfections in the wood, but aren't we all a little less than perfect! Each doll arrives on my worktable as a blank slate. After I draw on the face, paint the hair and body, then I glue the head to the body then wait a day for the paint and glue to dry. I have a treasure trove of fabric and tulle and I begin to craft an outfit and accessories for each girl. I hope you will enjoy your visit here. You can shop for an actual doll online at www.etsy.com/shop/clothespindolls or visit me on YouTube at youtube.com/clothespindoll where I show you how to make your own Sugar Plum Clothespin dolls and other cute handmade items. Enjoy the day!

Utrecht University Library – Wiel Arets Architects

Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004

The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.

The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.

The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.

The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.

Book Photographed by Beekeeper for reference purpose

Basic table with lockable tool drawer storage and backsplash.

My New Years resolution- to tidy up and make this a better workplace!

After all, what good is all that worktable surface when I can't even see it!?!

Utrecht University Library – Wiel Arets Architects

Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004

The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.

The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.

The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.

The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.

*Fantastic Christmas Celebration Pictures *

Loading images, Please wait...

A Horde of SantasAbout 1,000 volunteers wait before the beginning of a

charity campaign in Seoul.

Lots of (Fake) SnowEvery year the Babbacombe Model Village in Torquay,

England, creates a winter wonderland in miniature.

OrnamentsA painted figurine of the Pope sits on a worktable at the Richard

Glaesser wooden toy manufacturer in Seiffen, Germany.

Non $top Entertainment only at Funzug! Click to Join 4

Free!

Santa's Helpers?Central European folklore holds that Buttenmandl and

Krampusse, above, follow St. Nicholas from house to house during the holiday

season to either bring luck to the hardworking or punish the

idle.

Santa WannabesThese young men work as waiters on a pub street in Nanjing,

China.

PromotionModels dressed like Dorothy from The Wizard of Oz pose in front of

the London superstore Harrods as part of a promotion kicking off the famed

emporium's shopping season.

WetA diver welcomes visitors to the Osaka Kaiyukan Aquarium in

Japan.

Non $top Entertainment only at Funzug! Click to Join 4

Free!

Letters to the North PoleLaplandUK, an interactive theater experience in

Lambenhurst, England, re-creates Father Christmas' mythical Arctic homeland

and offers guests a chance to cavort with real huskies and

reindeer.

ImmodestFestive lights adorn a house in Melksham, England. The display

requires more than 115,000 bulbs and an uprated supply of electricity.

Homeowner Alex Goodwind uses the attention he draws to raise money for a

local hospice. Last year, he raised £3,000.

A Christmas tree made from recycled plastic bottles stands on a street in

Paris.

Run, Santa, Run!Runners dressed as Santa Claus take part in the London Santa

Run in Battersea Park.

Non $top Entertainment only at Funzug! Click to Join 4

Free!

Ho, Ho, HoAn illuminated giant Santa greets Christmas revelers in

Berlin.

From the official website:

Responding to the need for larger quarters, Toronto's civic officials began the task of designing and building Toronto's third city hall. The successful architect, Edward James Lennox, took three years to design the impressive Old City Hall (1886-1888) that needed to address the two separate uses of the building - the City Hall and the court house. It was erected over the next 11 years (1889 - 1899) at a cost of more than $2.5 million. It was not only the biggest structure in the city at that time, it was also the largest municipal building in North America.

Following the opening of Toronto's fourth, and present, City Hall in 1965, Old City Hall was threatened with demolition during the planning of the Eaton Centre. A group of concerned citizens and community activists called, "Friends of Old City Hall", convinced the city to preserve this important landmark, that complemented Osgoode Hall and the new City Hall. Old City Hall was declared a National Historic Site by the Historic Sites and Monuments Board of Canada in 1989.

This was taken from the raised level at Nathan Phillips Square (New City Hall), just across the road from the grand old building.

This High Dynamic Range panorama was stitched from 27 bracketed images with PTGUI Pro, tone-mapped with Photomatix, and cleaned upp in Aperture.

Original size: 7094 × 4770 (33.8 MP; 44 MB).

Location: Nathan Phillips Square, Toronto, Ontario, Canada

Book Photographed by Beekeeper for reference purpose

Utrecht University Library – Wiel Arets Architects

Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004

The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.

The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.

The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.

The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.

New & Exclusive with 25% off @ Redeux Oct Round:

The culina & thermopolium package from our Civitas Series contains 14 item to decorate your roleplay environment in any ancient roman or greek setting. It suits any tavern or private kitchen/culina.

In the ancient Greco-Roman world, a thermopolium was a commercial establishment where it was possible to purchase ready-to-eat food. The forerunner of today's restaurant. These places were mainly used by the poor or those who simply could not afford a private kitchen.

Thermopolium, hearth and worktable contain animations and rezz props.

Item list:

Culina Working Table, 3LI, c

Culina Thermopolium, 5LI, c,m

Culina Hearth 5LI, c,m

Culina Herb Basket 3LI, c, resize

Culina Amphora Rack 1, 2LI c,m

Culina Amphora Rack 2, 3LI c,m

Culina Amphoras 2LI, c, resize

Culina Basket of Panis 2LI, c, m

Culina Dishes Shelf 2LI, c,m

Culina Jugs Shelf 2LI c,m

Culina Panis Cutting Board 2LI, c,m

Culina Spice Rack 3LI, c,m

Culina Storage Pots 1LI, c,m

Culina Vegetable Basket 3LI, c, resize

Please have a look at the other items and buildings of our civitas series, if you are generally interested in roman/ancient roleplay and decoration.

The set fits perfectly into the tavern of our civitas series.

shot of my work table right now with some newly finished art peices that i have been making to sell at the local art fairs and on etsy.

they are pen and ink drawings over acrylic

Blogged here: lucidrose.blogspot.com/2010/03/plans-are-made-to-be-broke...

*Fantastic Christmas Celebration Pictures *

Loading images, Please wait...

A Horde of SantasAbout 1,000 volunteers wait before the beginning of a

charity campaign in Seoul.

Lots of (Fake) SnowEvery year the Babbacombe Model Village in Torquay,

England, creates a winter wonderland in miniature.

OrnamentsA painted figurine of the Pope sits on a worktable at the Richard

Glaesser wooden toy manufacturer in Seiffen, Germany.

Non $top Entertainment only at Funzug! Click to Join 4

Free!

Santa's Helpers?Central European folklore holds that Buttenmandl and

Krampusse, above, follow St. Nicholas from house to house during the holiday

season to either bring luck to the hardworking or punish the

idle.

Santa WannabesThese young men work as waiters on a pub street in Nanjing,

China.

PromotionModels dressed like Dorothy from The Wizard of Oz pose in front of

the London superstore Harrods as part of a promotion kicking off the famed

emporium's shopping season.

WetA diver welcomes visitors to the Osaka Kaiyukan Aquarium in

Japan.

Non $top Entertainment only at Funzug! Click to Join 4

Free!

Letters to the North PoleLaplandUK, an interactive theater experience in

Lambenhurst, England, re-creates Father Christmas' mythical Arctic homeland

and offers guests a chance to cavort with real huskies and

reindeer.

ImmodestFestive lights adorn a house in Melksham, England. The display

requires more than 115,000 bulbs and an uprated supply of electricity.

Homeowner Alex Goodwind uses the attention he draws to raise money for a

local hospice. Last year, he raised £3,000.

A Christmas tree made from recycled plastic bottles stands on a street in

Paris.

Run, Santa, Run!Runners dressed as Santa Claus take part in the London Santa

Run in Battersea Park.

Non $top Entertainment only at Funzug! Click to Join 4

Free!

Ho, Ho, HoAn illuminated giant Santa greets Christmas revelers in

Berlin.

Utrecht University Library – Wiel Arets Architects

Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004

The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.

The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.

The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.

The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.

www.maryjanestearoom.com

aspen, colorado

1977

tinkering with electronics in nick's mad lab

part of an archival project, featuring the photographs of nick dewolf

© the Nick DeWolf Foundation

Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com

Benchmarx workbenches placed in a back to back configuration create central work islands while Basix tables line the walls.

Painter: Vittore Carpaccio (Venice ca. 1455-1525)

Date: dated 1502

Original location: Scuola di San Giorgio degli Schiavoni, Venice

Medium and Size: tempera on canvas

141 x 115 cm

Literature: Web Gallery of Art

Notes: a depiction of almsgiving, as Christ calls Matthew, a tavern keeper and urserer, to give up his wordly goods and follow him. According to the WGA: 'There are also two paintings in the Scuola di San Giorgio degli Schiavoni that are not part of the cycle: the Agony in the Garden and the Calling of Matthew, dated 1502.

The Calling of Matthew is much closer to the last episodes of the St Ursula cycle than Agony in the Garden, especially in the precise construction of the colour planes within a composition that is almost exactly similar to that of Giovan Battista Cima's Miracle of St Mark, a work painted around 1499 and now in the Staatliche Museen in Berlin. The scene is not set in Capharnaum, but on the Venetian mainland, as we can see from the style of the gate and the buildings around the square, where Matthew, responding to the calling of Jesus Christ and the Apostles, abandons his post as tax-collector (the receipts attached to his worktable indicate that that was indeed his job). Notice the typical wooden parasols placed so as to keep the sunlight off the worktop. '

The Carpet Index

Lauren Arnold, last update 12/31/10

laurenarnold@cs.com

Solidworks model

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