View allAll Photos Tagged worktable
Jester is lying on my worktable under the photography lights (3 anglepoise lamps with paper over them), and licking his paws studiously, only to break off to listen carefully for sounds coming from the kitchen, just in case someone was going to break out the meat.
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...
*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.
Grodd slides a large machine across the workshop floor, a small screech echoing throughout the room. Malavar assists him, carrying one box of supplies over his shoulder and another under his arm. Making sure the machine was lined up with its kin, Grodd grabs one of the boxes from his associate, placing it onto one of the many worktables.
He begins to rummage, earning a raised brow from his associate. "General, are you sure you're fine?" Malavar asks, placing the other box onto the table. "I know the doctors say you are, but…"
"I am fine," he dismisses, finally finding the object he longed for.
Malavar watches with a frown as the General slides the box from his belt. He'd begun calling it "mother" ever since they returned from the crash site. The attachment… worries Malavar.
Grodd, however, pays no mind to the odd look from his colleague, placing the item from the crate onto one of the larger machines, before slotting Mother into it. He can feel her; the gentle humming in his ears, the tingly vibrations on his mind.
"General," Malavar begins, helping unpack the box, "I know you said you'd explain in due time but what… fascinates you so much about that box. About Mother?"
Grodd was glad his colleague corrected himself, he suspected Malavar would be one of the first to understand. "She is… alive… communicating with me," he explains, running a finger down the chrome edges. "There is knowledge here… entirely untapped."
"You've never been one to favor knowledge, General," Malavar challenges, removing Grodd's hunting knife from the box. "In actuality, you were rather against technology and advancements of it."
"And I still am," he responds, stepping forward and taking the knife from Malavar's hand. He closes his fist around the blade, a deathly crutch echoing in the still rather empty room, followed by the wooden hilt clattering in the floor. As his hand opens, the stone of the blade is the consistency of sand, the grains tinted with the red of his blood. He lets it fall to floor, a few more droplets of blood falling from his palm.
"She is no mere technology… she is so much more," he says, staring into Malavar's orange eyes, blown wide. "Mother has only shown me that even I relied on things such as blades… that I was no better than you and your scanners and lasers.
"She showed me how it all is so… primitive."
-^-
Queen Boka smiles, waving to the children. The whirring of her chariot pulls her through the streets of the city, past commoners and nobles alike. The smile, thoroughly practiced, isn't a true one. A fake smile, practiced for decades now.
In truth, her mind is currently distracted. Pulled from both privilege and duty, all she could think of was him; General Grodd. Earlier this week, shortly after his discovery of… the box, he began to change.
The first, and by far most notable, was the day he'd moved from the Great Tree to a small building in the upper west side. This was not an uncommon thing; moving from the Great Tree to the city was a moment of pride for most, a moment due for celebration. Grodd was different, he could've taken a home in the city decades ago, back when homes first began construction. He declined, he'd always decline.
The second, his actions. Grodd is an overachiever to a fault. His pride and ego push him every day to accommodate for everything he can, any task or duty. He tells himself it's for the people, but it's merely a front. Boka knows him, she knows him well. She knows the malice buried in his heart, the antipathy for stagnation. This has changed. She hasn't seen Grodd assisting others since that night, he hasn't taken a single mission from Solovar or attended optional meetings.
The third, and most frightening… is the whispers. The box he'd salvaged… Grodd has become attached to it. He's never seen without the machine, always keeping it in his hand or on his belt. He rubs it with his fingers, whispers to it, as if it were alive. He calls it mother.
Boka believes it is the root of it all. Whatever the box is, it is changing Grodd from the dependable warrior to something she doesn't like.
She's brought it up with Solovar, but she knows her husband won't be able to solve this matter. She'd need to take it into her own hands.
-^-
Grodd sees the looks they give him. They stare at him, whispering their thoughts as if he can not see.
He enters the palace, the imperial guard keeping their weapons drawn as their eyes follow him. Weapons like that… he doesn't understand how they are still so small minded. Perhaps it's what Solovar wishes to speak about, allowing his ideas to prosper. He hopes so. It would finally allow Gorilla kind to take the next step towards forward, to their rightful place as Earth's rulers.
Pushing open the doors to the throne room, Grodd sees his old acquaintance sitting upon his throne, though Boka is nowhere in sight. He steps up to the throne, not bothering to bow, rather placing his hand on Mother. Her pulse soothes him, giving him any confidence he lacked.
"Solovar."
The monarch in question pauses a moment, taken aback slightly by the lack of formality. "It is good to see you, General," he finally greets, eyes trailing to Grodd's hand, still firmly gripping the box. "I see you have brought the machine with you."
"She is no machine," Grodd states, as matter of factly as possible. It irked him, to see even one he deemed a friend to say such things… could they not see it? Not feel it? "Speaking of her," he begins, the pulse of mother bringing his mind back on task, "I believe I know what I've been summoned for."
"Do you know?"
"Her mind," Grodd again states, a devilish grin spreading across his face. "With her, I believe Gorilla City can finally reach a new dawn!"
In his ecstatic state, he fails to see the confused frown of the king. Solovar takes a moment, likely gathering the thoughts to respond to such a claim. "I- General, there is much we need to discuss…" he says calmly, leaning forward in his seat, "and yes… it is about the box."
"You were right mother," Grodd slurs, an unsettling laugh echoing through the throne room. "They recognize you, recognize us."
"People are worried about you, Grodd."
The words pull Grodd from his trance-like state, leaving him stunned. A strange sensation washes over him. Anger? Disappointment? He can't place it, nor can he place the erratic pulsing of Mother. The pulsing… he can't… he can't hear her, not the way he normally does.
"What?" It's all he can muster, feeling the thumping of his own heart matching the ever increasing pace of Mother. Is she warning him? Is he in danger? Should he run? Fight? What is he supposed to do?
"General, breathe," Solovar commands, calming his mind for a moment. "This is what others are worried about. You are different now, that box is changing you."
"You… you did not call me to bolster our forces?" Grodd pants, his mind still slightly scattered. "We have the means to truly rise and take the world for ourselves!"
"Do you see yourself, general?" Solovar asks, standing from his throne. Grodd's eyes narrow, watching his emperor take steps down from his throne. "I'm going to ignore your comment about conquest… but you're not well."
"Ignore it?" Grodd says, feeling his fire return. He steps up to Solovar, eyeing his king. "What kind of king ignores his general? What kind of king would abandon his people?"
"That is not the issue, Grodd…" Solovar sighs, taking a step back. Grodd feels the corners of his mouth perk up, victorious. "It isn't why I brought you here!"
"It is why I came though," Grodd scoffs, running his thumb over Mother.
"You fail to understand the first thing that comes with being king." Solovar finally snaps, causing Grodd to take a step back. "The land? The status? None of it matters! As the king of our home, there is one thing that truly matters... those who live in the city."
Grodd stands stunned, rarely hearing Solovar raise his voice. He takes another step back, his grip tightening on Mother. He isn't only stunned at the tone though. The words sit in his ears, replaying in his head. His skin boils with rage.
"As long as the crown sits atop my hea-"
"I challenge you for the throne."
"Excuse me?"
"Those above 10 in ranking may challenge the king for his crown," Grodd says, steeling his resolve and So I, General Grodd, challenge you, Solovar."
"Grodd, please. We have fought together side by side for decades," Solovar pleads, reaching a hand out to Grodd. "You're more than just my general, you're like a brother to me. Please, just listen to reason."
"Do you accept my challenge," Grodd says darkly, his beady red eyes staring into Solovar, full of malice, "or forfeit your crown?"
Solovar looks hurt, his own eyes, though the same shade of red, lacking any of the malice held by Grodd. "General Grodd," he announced, with a sigh, "I hereby renounce your rankings and discharge you from the military."
The world around Grodd goes dark. Sounds, light, even mother's pulsing… it's all gone. A shaky breath escapes him. "What are you... That is not just!" he shouts, his hand leaving mother for the first time since he arrived. "You're going against the laws that founded this city!"
"The old laws are from a time period long past," Solovar says, taking a seat on the throne and ushering in the palace guards. "I wish there was another way… but I can not allow your ego to destroy gorilla city, nor yourself."
The guards take hold of Grodd as he struggles, attempting to free himself and lash out at Solovar. "You are everything wrong with Gorilla kind!" Grodd shouts as he's dragged from the room. "You will see one day! I promise you!"
"And I hope you will see one day, Grodd… see the truth of our people."
-^-
Grodd slams his fist against the wall, leaving a craterous dent in the metal. His blood boils, his eyes bulge… he can barely breathe with how tight his chest feels. He was not general, not anymore. His role, his life, they were stripped away from him in an instant. Years, decades of dedication to the city was rewarded with this? He tears mother from his belt, holding her to his head. He needs her, he needs the warmth she gives; the simple, yet effective calming touch of her mind.
He doesn't get that. He doesn't feel that soothing sensation, rather a raging fear echoes in his mind. It hurts, much more than he's willing to admit. He hastily pulls away, staring at the glowing red lights shining from her face. He stares confused, unsure what she is afraid of, what she's trying to tell him. No matter how strong their bond is, they are still two minds. No matter how strong their connection is, they aren't one.
If they were, things may have turned out differently.
The door breaks down, causing Grodd to whip his torso to the front of the room. He watches as four, no, six elite guards enter his home, their home. He takes a slow step backwards, holding mother close to him. She's pulsing frantically again, just the way she did when he was at the palace.
"You… you have no permission to enter my home!" Grodd shouts, taking another step back as the guards spread out through the room.
"We're here on imperial business, citizen," one of the guards announces, sending a jolt of hatred down Grodd's spine. Mere hours ago he could order these men to commit suicide, and to not comply would result in treason. Now he's being herded? "We are here on orders from the queen herself. We mean you no harm, we only need the box."
Boka? Mother? Orders?
Take… mother?
Grodd, in an instant leaps forward, keeping his grip on Mother as tight as he can. While midair, his free hand tears the light fixture free from the ceiling; swinging the light like a flail at his nearest attacker. Flesh sizzles as the swing connects, sparks flying from the shattered lightbulb, setting the guard ablaze. Grodd is quick to pick up the spear, spinning it around him to block a flurry of strikes from the other guards. He manages to gut one of them before the spear is snapped in half. He attempts to block the next strike with his arm, but is unable to guard his flank. The frontal attack pierces his arm, which he quickly moves to break the weapon, blade still deep in his arm. The flank, unfortunately, it's digs into his abdomen.
Grodd let's out a cry-like roar as he spin, his fist connecting with the opponent in front of him, while momentum carries the spear in his stomach alongside its wielder through the air. Grodd pulls the blad from his arm before slamming it into the flank's head, a spurt of crimson painting his deep black fur. Tugging the spear from his stomach, he winces at the pain, before readying himself. He doesn't get the chance to attack before his eyes lock into a horrible sight.
Somehow, during the struggle, he dropped Mother. He's frozen, even though he wants to move, to rush and save her, he can't. His own mind is caged, forced to watch as two of the remaining three guards dig their spears into her chassis. The echoing screech in his mind was enough to haunt him for the rest of his life, for the rest of the time his consciousness could exist. The two guards who'd stabbed into her gripped their skull, blood sleeping from their eyes, nose, and ears. Their screams echoed in the still near-empty room.
And then silence. There was no more pulse. There was no more feel, no more touch.
Mother was… gone?
From the corner of his eye, he sees the last guard, the one he'd punched, beginning to stir. No feel. No touch. He moves without thought, without care. He finds himself stood over the guard, fists clenched tight. If only they were this tight when he held her. If only he didn't let go.
His fists slam down. They slam down over and over and over and over again. Every second, he slams down once again. No feel. No touch. No mother. The squelching of flesh being torn apart under him is all there is in the world. Only red.
Only red until he can't slam his fists down anymore.
His body is lifeless, his mind feels empty. He takes slow steps, if he can even call them steps. It might be a crawl, he can't tell anymore. All he knows is that he's no longer above the guard, now hovering over her remains. His hands, stained red, scoop up the silver and red scraps. With her in his arms, he can feel. A faint, dying pulse.
"Please… mother, please," he pleads, hands shaking as he holds the remains to his head. For the first time in his life, tears fell from his face. Tears that, when they run down his bloody face, are dyed crimson.
The hum. The sensation. He can feel it once again. He can feel it as he holds her to his head.
That's when it happens. A bright, red glow engulfs him. It hurts, it hurts his body and hurts his mind. An excruciating ache that makes him wish the guards had finished him. The pain, it's not all that occurs. There's a new sensation… one different than anything he's felt, before or after Mother. It's like their minds are…
He stands, his wounds healed, his body cleaned of all the blood. The remains of mother are no longer in his hands, but rather… his hand brushes along his head, large fingers rushing over cool, silver metal imbued in his flesh.
He and mother were one. His mind never felt so right.
-^-
Red boots skid across the jungle floor, kicking dirt and leaves up into the air. Barry Allen shields his eyes from the sun that peeks through the canopy. After analyzing Dawson's flight records, Barry learned he'd been in the Congo Basin, Gabon, when he lost his memory. Barry had been searching the jungle for a little over an hour finding nothing. Nothing until now. He'd found it… what he assumed his target was, at least. A city, hidden deep in the jungle.
His lead to Raijin.
----------------------------
NEXT TIME: A New Lead, a New Foe!
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
New GreenHouse series by [CIRCA]Living.
Full greenhouse packages available along with smaller sets or single pieces. Many of the furnishings and planters come in 5 colours to mix and match - Nut, Plum, Teal, Beech, & Rhubarb.
You'll find lots of unique animations added to the series, including 8 garden types with props (to wear) to go with the anim cycles.
Find the packages for purchase here:
Nature Hill - GreenHouse Packages
Find the Nature Hill - Greenhouse Demo here:
ISS008-E-05181 (31 October 2003) --- Astronaut C. Michael Foale, Expedition 8 mission commander and NASA ISS science officer, works with the Russian biomedical “Pilot” experiment (MBI-15) in the Zvezda Service Module on the International Space Station (ISS). The experiment, which looks at psychological and physiological changes in crew performance during long-duration spaceflight, requires a worktable, ankle restraint system and two control handles for testing piloting skill.
Maneuvering mercury into these little die holes was a challenge, and it took a lot of planning ahead to not have little balls of toxic mercury skittering around my worktable.
Original family furniture - Second floor - Display - Fountain Elms (Italianate house). The Worktable - circa 1846, Charles Boudouine, NY, NY. Rosewood, mahogany, white oak, ash, glass, brass and metal. Now a little bit of info on the worktable: In 1846, James Williams purchased this multi-function, French-inspired worktable, capable as serving as a sewing table as well as a writing surface. It was a gift for his future wife, Helen Munson. The lid, mirrored on the underside, opens to permit access to the interior of the table which is filled with a four-sectioned removeable tray above a single compartment. A "hidden" drawer, located beneath the body of the table, is not readily visible to a causel observer. This drawer can be opened only when a small lever, located next to the interior tray, is lifted and held. This is from the Proctor Collection. The Armchair - circa - 1852, Charles Baudouine, NY, NY. Rosewood, ash, modern upholstery. Now another bit of info, on the armchair: By mid-19th-century it had become customary to acquire suites of matching parlor funiture that included arm chairs, side chairs, a sofa or settee and a center table. Other forms such as an etagere or meridienne, could be purchased en suite. The elegant simpicity and quality of the furniture made in the shop of Charles Baudouine appealed to the Williams' taste when they furnished the formal parlor of Fountain Elms. In 1852 they paid $512 for a suite of ten pieces (two armchairs, four side chairs, two settees and a two-part "multiform table". This chair was also an orignal piece of the family. From the Proctor Collection. Fountain Elms is part of the Munson-Williams-Proctor Arts Institute, 310 Genesee Street in Utica, NY. (301)
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.
*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.
I found this to be a very quick make. It's another great Tessuti pattern made up in silk. More details on the make... www.bombazine.com.au/worktable/tokyo-jacket/
meu emac g4, o macbook e um monitor de 22"
queria usar o emac como terceiro monitor, isso sim seria lindo demais
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.
I am going to start with my single girl quilt with my precious Suzuko and Kumiko fabric's, I am hoping that some fabric that I bought will arrive soon but I just can't wait!!
Love… passion… desire… Need I say more?
The photo info:
Camera and Lens: Canon 5D MkIII with a 24-105mm f/4L IS set at 1/160, f/4, ISO 200, 82mm.
Lighting: 1 Canon 580EXII @ 1/32 power held by VAL from behind couple and triggered by Pocket Wizard PWIIs.
Step one was to build a heavy duty shore wall over the entry porch area where columns were the most severely deteriorated; when each column was removed temporary 4 x 4 supports were added on either side. Jacking slightly allowed removal of column and base and then the column was laid on a worktable for paint stripping and repairs, All defects were filled, sanded smooth followed by primer paint. New rot resistant bases were added at the bottoms of the columns and they were reinstalled in original locations. Original column finish color was determined and then matched. See more...
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...
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...
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...
Leo thought Rose taking this pic was rather funny...... BIG POOP!
I can't believe the look on my face and i was totally grabbing for the camera. I had been sitting and staring at the boggy mess thinking I should clean up before I start!!!!
And so here is the way the room looks now. I have some test prints up on the wall showing how changing contrast via the Magenta and Yellow filters affects the overall exposure, using f-stop exposure timing, which I like. (You may notice the numbers for the f-stop sequence I like on the dry-erase board. I think it's: +1/3, +1/2, +2/3, +5/6 and + 1 1/3, for base 8 sec exposure.)
Also notice the yummy chemistry.
I found a Gralab 500 timer for the enlarger, which is AMAZING, and a 300 which I use for developing prints.
I have two safe-lights, a red lightbulb (Safelight Jr.?) and a Kodak can with a 15 watt bulb and OC filter. I was surprised at how bright the Kodak is compared to the red light, but it passes all my 5 minute fog tests, so I'm happy.
I use a Thermos full of hot water to regulate the temp of the chem. I just pour some hot water into a wide bottom beaker and put that in the trays. In a couple minutes, boom, 68 degrees. (20C for you who know).
The water pump system is great. I wired the pump up to a switch, so a flick is all it takes to get fresh water flowing. I use a bucket underneath as a waste receptacle, and only use distilled water for the critical steps. I also added some vinyl tiles to the surface of the worktable for spills, and thrills.
There was no power at all in this part of the garage so I had to run an extension line inside the room and wire up some outlets and a switch for the main light.
The post it notes are indispensable to me! I have written down everything from film developing time to Imperial/Metric volume conversions, how many ml for the 5x7 and 8x10 trays, and ratio and dilution formulae for the chemistry.
Remember that movie Memento?? Thats me.
I LOVE this room!!!