View allAll Photos Tagged worktable
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.
Joe having another place to work has also freed up his desk in the back room to become a more flexible location for projects. Here it is in sewing mode—with the first output, a completed "draft dodger" on the floor by the door.
His monitor/keyboard/mouse are easily accessible in the closet directly across from the desk, so it can return to computing tasks at need, but doesn't present an uninspiring view to me from my desk all day every day anymore.
One other big benefit is this desk is 30" deep while the old worktable (behind my desk and thus behind the camera in this shot) is only 24". Turns out to be a pretty crucial difference for comfort while sewing!
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...
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.
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.
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...
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.
Durable Galvanized Finish
Call 507 834 6915 ask for Larry Waldner
www.shopstarlandmetals.com/industrial-steel-storage-cabin...
Here is an picture of a Formaspace work bench which can be used in industrial, technical, or laboratory settings.
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:
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...
Barbie, standing on my worktable trying on a few things to cheer her up after being neglected for ages!!
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)
In the left window, one of my models, a long dead 'split leaf philodendron' leaf. To the lower left, the leaf's shadow projected on a clean white surface. Between the windows, one of my drawings of this leaf's shadow. Worktable in the middle, with beloved but unwieldy 'night blooming cereus' (or relative) that hasn't yet been a good subject for me (This changed the next day!!). On the right, on the easel, 'Five Weeks' in process. This one is based on the shadow of a living plant in another room.
aspen, colorado
late 1975
inside 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
I do already do a lot of cards where I make a full sheet and then cut it down, but Steph inspired me to do a big collage to cut down.
Made from bits on my worktable...1927 newspaper (Lewiston Sun), chopstick wrapper, old dictionary and encyclopedia pages, old cookbook, rubber stamped images, letters from a VHS tape. We just got rid of our old VHS tapes....but I kept the stickers and labels...of course!
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.
CONCEPT / IDEATION Chose a metaphor of Arch to come up with an unique product form
The metaphor used for this project is the arch and the lemniscate. The understructure is in form of a sleek arch, with a lemniscate residing on top. Historically the arch represents a gateway to heavens, and has been used often in structures and monuments. To me, arches talk to us about opportunity and offer different perspective to different people. The lemniscate (commonly used as a symbol for infinitely) is a geometrical representation of the endless and eternal nature of energy. The form as whole symbolizes the infinite nature of our spirit, thoughts, and potential.
This same can be said of the man behind this exclusive CEO’S desk. The glass of top quality is manufactured by a special process, which renders images of exclusivity, and ability to stand apart.
WORK TOP: MATERIAL : Special glass which imparts warm feeling at the same time renders images of exclusivity.
PROCESS:Molten glass laid in Layers, with colour frit formed rendering at each layer, to create a depth.
UNDERSTRUCTURE:MATERIAL : Carbon Fiber reinforced plastic
PROCESS:Spray Lay-Up
SURFACE FINISH:BLACK ANODIZED
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...