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Рабочая зона

Для обустройства домашнего кабинета потребуется совсем немного времени и вместе с тем придется решить массу вопросов: куда установить рабочий стол, как правильно разграничить пространство, где поставить стеллаж? И это лишь небольшая часть. Решать эти вопросы стоит по мере их появления и очень желательно поэтапно. Будь Вы начинающий дизайнер, отшивающий одежду на заказ, фрилансер либо писатель, рабочая зона, где Вы проводите большую часть суток, обязательно должна Вам нравиться – это первое правило дизайна.

От того, как Вы относитесь к домашнему офису, напрямую зависит плодотворность Вашей работы, а, соответственно, и плата за нее. Наверняка Вам хотелось бы покорить многие вершины и заработать миллионы, поэтому давайте попробуем разобраться в том, как обустроить рабочее место: полезные идеи и советы мы уже подготовили.

Рабочая зона дома

Senior Film Review of UCF Commitment Caden Kitler

ORLANDO — While UCF will certainly continue to recruit the Sunshine State hard, there’s still room to branch out and find top prospects across the country, and Texas is an excellent place to start.

The Knights will replenish the depth across the offensive line with this class, so it was important to get off to a good start by landing not only talented players, but individuals willing to be moved to multiple spots along the offensive line in case of injuries and further roster attrition. This following young man fits that responsibility quite well, and his athleticism and toughness represent the type of player needed along the interior of the offensive line.

Caden Kitler

Caden Kitler Picks UCF Football

Caden Kitler, Offensive Line Commitment, UCF

Position: Offensive Line

High School: Plano (Texas) John Paul II

Recruitment: Kitler took official visits to Memphis, Boise State, and UCF. He ended up selecting the Knights over the Broncos.


This is not your typical immobile lineman. Kitler provides the flexibility needed to be explosive out of his stance, as well as changing speeds in the open field to be effective within the screen game.

He routinely changes direction and delivers a blow to opposing defenders. The ability to bend at the knees is also a good sign. He’s capable of being an interior mauler with his ability to stay low during a run block.

Best Attributes

Intelligence. Kitler has it. He knows how to time open-field blocks, when to step down for a pin-and-pull situation, and how to be consistent with his technique during pass protection. He’s picking up the nuances of being an all-around offensive lineman quite well. That’s also why he deserves credit for the next category.

He’s a finisher. Many offensive lineman do not truly overwhelm an opposing player even when the opportunity arises. Kitler buries an opponent, time and time again. It’s more about sending a message than needing to do it. That attitude will serve him well for the Knights.

To go along with Kitler’s attitude, his power is already pretty solid for a high school player. He will need to increase strength like any other incoming freshman, but he's a broad chested young man that will lay into an opponent and they will know it when he does.

As noted above, Kitler’s athleticism is a plus. He will be able to play literally any of the five spots along the offensive line. He’s open about whether he plays guard or tackle, but one should not completely discount Kitler from playing tackle at some point.

Watching his senior film affirms that Kitler can move well enough to play offensive tackle, and now it’s more about finding the pieces around him and where they fit best before designating Kitler’s future position once and for all. More about that situation below.

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Blending historic details in a modern interior brings warmth and character

IG @cipolasta

I have written quite often about individuals who purchase a historic home, and then, in an effort to “modernize” it, remove interior architectural detail original to the spaces and inherent to the specific character of the building. Modern or “contemporary” buildings already come with spaces that are devoid of extraneous ornament, allowing the natural outside environment to become part of the interior. Many people, being purists, recognize these features and purchase homes that are consistent in modern design.

But with the resurgence in popularity of authentic historic homes, these buyers are also realizing that original interior architectural features can be maintained while still designing an interior that says 2022.

How is that done? Here are some of the ways.

Begin your design with an appropriate paint color. Historically, trims, such as crown, base, chair rails, picture frame moldings and panels, were painted in contrasting colors to the walls and ceiling, giving the space an authentic historic feel. All these trims, panels and moldings are extremely important to the character of the room, but this time, choose a color that you love, and paint all the wall areas, including the trims, moldings and panels in the same color. The different architectural elements will remain important, and will serve as background features to your design. If your chosen color is a neutral shade, go ahead and paint the ceiling in the same shade. By doing this the space is united in color, and consistent in the design. If your wall color is a more intense choice, paint the ceiling in a warm tone that complements your main color. Don’t paint the ceiling white. A stark white ceiling can be extremely distracting, especially if the wall color is a deeper tone.

One of the more beautiful aspects of historic buildings is that their windows usually sport substantial wood trims. In the 1800’s these windows were then draped with layers of brocades and damasks, tassels and trims, tied back or hung freely, giving the space a closed in and often heavy feel.

Because we are all more aware of the outdoors, and allowing the outside in, it is now more preferable to hang simple closable or stationary panels, on either side of a window. And unless insulation or privacy is a primary concern, why hide that beautiful wood trim at all? Installing wooden blinds or simple Roman shades can provide warmth and add a bit of color to the room, or just leave the windows uncovered to show off that substantial trim while still maintaining the room’s new “modern” appearance.

When it comes to the room’s furnishings, there are a couple of ways to go. If you have inherited some older upholstery pieces that have some sentimental value and could be incorporated into the new space, you can give them new life and character by selecting more up to date fabrics. Even disparate styles can work when upholstered in the same or complimentary coverings. Casegoods are more tricky. “Brown” furniture, as it is now often referred to, can make or break a room if it is not purposefully considered. An antique sideboard, accent table, or secretary can create a room that has style and individuality, as long as the piece is combined with more modern pieces in the same proportion, and maintains the balance within the room.

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If you plan to purchase new seating, choose sofas and chairs with cleaner lines, but I would discourage “ultra modern” manufacturers whose pieces are scaled to larger, more open spaces, and have sharper edges that can detract from the surrounding architectural detail. Keeping the fabrics in quiet tones that match or complement the paint color will add to the modernity of the room. An area carpet in a tone on tone sculpted pattern is modern, but with a traditional bent.

Philadelphia has a vast inventory of historic homes that still contain their significant interior architectural detail. If you are lucky enough to own one of these, you can definitely design modern rooms while incorporating historic elements that add individual character to the spaces.

If you happen to own a home that has lost some of its important details, we will be discussing how to bring that character back. More to come!

Progression of Art

Louis-Auguste Cézanne, the Artist

Louis-Auguste Cézanne, the Artist’s father, Reading “L’Evenement”

This portrait is one of the most renowned early works by Cézanne. The rigid composition is dominated by somber hues applied in a thick impasto. The expressive premise for this piece is suggested by the artist’s inclusion of his own still life in the background, as though to solicit recognition of his talent by his famously disapproving parent. As if to force the issue, Louis-August is portrayed reading a liberal newspaper, a highly unlikely event, as he was widely known for his conservative outlook.

Oil on canvas — The National Gallery of Art, Washington, D.C.

A Modern Olympia (1869-70)

A Modern Olympia

This composition is Cézanne’s adaptation of the theme of the demi-mondaine, or high-class prostitute suggested in Édouard Manet’s scandalous Olympia of 1863. Unlike Manet’s treatment, however, Cézanne portrays the prostitute as an awkwardly naked and recoiling figure, setting off the figures of her suitor (completely invisible in Manet’s rendering of the subject) and an African chambermaid as transgressing «outsiders.» The figures are depicted in both an expressive and abbreviated, indeed almost ungainly manner, with facial features only vaguely outlined, like masks, while their fleshy, corpulent bodies are visually articulated by dynamic, curving contours. The interior of the room is defined by a series of sweeping diagonals and bold colors depicting draperies, fruit, and an implied floral arrangement (Manet’s version of the subject sported a resplendent bouquet in the center of the canvas). The suitor may be equated with Cézanne himself, possibly referring to his well-known anxiety with the opposite sex, which he struggled with throughout his life.

Oil on canvas — Private Collection

The Bay of Marseille, Seen from L

The Bay of Marseille, Seen from L’Estaque

In this view of L’Estaque, the artist’s palette bursts with a vibrant bouquet of colors previously unseen in his work. The rigid architectonic forms of the houses define the foreground, while the rest of the picture is realized just as «solidly» through the bold blues of the sea and the sky. The complementary colors are skillfully employed by the artist to create an illusion of pictorial depth. The entire composition reminds us the artist’s stated desire to «make of Impressionism something solid and enduring, like the art in museums.» Cézanne painted numerous views of L’Estaque, which was one of his favorite destinations in the south of France.

Oil on canvas — The Art Institute of Chicago

Madame Cézanne in a Red Dress (1888-90)

Madame Cézanne in a Red Dress

This is an example of the many portraits Cézanne painted of his mistress and eventual wife, Hortense Fiquet. Cézanne does not romanticize her form: the sitter’s figure is rigidly imposing, almost soldier-like, her face bluntly plain and asymmetrical with only one ear visible. It seems that the sitter exists purely for compositional purposes, her dress in itself serving as an excuse for the artist to experiment with various tones of red, like a convenient palette. The stark geometrical accents dissect the canvas in both horizontal and vertical directions, thus creating the impression of a carefully arranged, monumental still life, as opposed to a portrait of a lifelong companion or «loved one.»

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Oil on canvas — The Metropolitan Museum of Art, New York

The Card Players (1890-92)

The Card Players

Cézanne produced his series of Card Player paintings, drawings, and related studies in his ancestral home in the South of France, where he found in the image of men playing cards something timeless, like the mountains cradling an ancient people. As though they came together around a simple peasant table for a seance or cosmic conference, the card players seem at once transient and unmoving, very much masters of their environment and yet weathered testaments of time’s passing.

Oil on canvas — The Metropolitan Museum of Art, New York

Table, Napkin, and Fruit (A Corner of the Table) (1895-1900)

Table, Napkin, and Fruit (A Corner of the Table)

After studying Dutch and French Old Master still life painting at the Louvre and other Parisian galleries, Cézanne formulated his own semi-sculptural approach to still lifes. Typically strewn across an upturned tabletop, Cézanne’s pears, peaches, and other pictorial elements seem at once to rest on a solid, wooden plank and yet float across the surface of the canvas like a new kind of calligraphy. As if to press home that point, Cézanne typically includes chairs, wooden screens, water pitchers, and wine bottles to suggest that the gaze of the viewer rise vertically up the canvas, rather than plunge deep within any implied corner of a real kitchen.

Oil on canvas, 47 x 56 cm (18 1/4 x 22 in) — The Barnes Foundation, Pennsylvania

Study of Trees (c.1904)

Study of Trees

In nearly abstract watercolor landscapes dating from the latter part of his life, Cézanne achieved a perfect balance, or equilibrium, between color, form, and relatively untouched areas of the paper. The brushstrokes themselves seemed to speak a visual poetry entirely apart from the painting’s subject. In this study of trees, which invariably comes from the long tradition of Japanese woodcuts, Cézanne is moving further toward abstraction by constructing the landscape view through various constellations of color. What seems an «unfinished» composition nonetheless successfully suggests the feeling of nature without fully representing it, the overall canvas structured by intersecting diagonals that tip and turn out of the picture plane, like leaves shifting in the sunlight. This lively arrangement, along with the artist’s obvious acknowledgment of the raw canvas as a positive component, directly anticipates the «incomplete» landscapes of the Fauves and provides future generations with a method to experiment with pictorial possibilities beyond the rigid tradition of naturalistic representation.

Oil on canvas — The Fogg Art Museum, Harvard University, Cambridge, Mass

Mont Sainte-Victoire (c.1905)

Mont Sainte-Victoire

This is one of the last landscapes of Mont Sainte-Victoire, favored by Cézanne at the end of his life. The view is rendered in what is essentially an abstract vocabulary. Rocks and trees are suggested by mere daubs of paint as opposed to being extensively depicted. The overall composition itself, however, is clearly representational and also follows in the ethos of Japanese prints. The looming mountain is reminiscent of a puzzle of various hues, assembled into a recognizable object. This and other such late works of Cézanne proved to be of a paramount importance to the emerging modernists, who sought to liberate themselves from the rigid tradition of pictorial depiction.

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In Cézanne’s mature work, the colors and forms possessed equal pictorial weight. The primary means of constructing the new perspective included the juxtaposition of cool and warm colors as well as the bold overlapping of forms. The light was no longer an «outsider» in relation to depicted objects; rather light emanated from within. Instead of the illusion, he searched for the essence. Instead of the three-dimensional artifice, he longed for the two-dimensional truth.

Oil on canvas — The Pushkin Museum of Fine Art, Moscow

The Large Bathers (1898-1906)

The Large Bathers

The Large Bathers is one of the finest examples of Cézanne’s attempt at incorporating the modern, heroic nude in a natural setting. The series of very human nudes, no Greco-Roman nymphs or satyrs, are arranged into a variety of positions, like objects of still life, under the pointed arch formed by the intersection of trees and the heavens. The figures are devoid of any particular personality — the artist assembles them for purely structural purposes. Here Cézanne is reinterpreting an iconic Western motif of the female nude, but in an exceptionally radical way. The sheer size of the painting is monumental, confronting the viewer directly with abbreviated shapes that resolve themselves into the naked limbs of his sitters. This is not yet abstraction, but in such instances Cézanne has already moved beyond the figurative tradition.

Современные цветовые тенденции в оформлении рабочего места

С развитием инфраструктуры дизайна в нашей стране люди стали задумываться о том, как выглядит их интерьер. Если раньше обстановка и ремонт квартиры делались из того, что можно было достать “по блату”, то сейчас магазины просто поражают разнообразием предметов мебели и строительных материалов.

Письменный стол как предмет интерьера есть практически в каждой доме. И раз уж мы заговорили о цветовых решениях в оформлении комнат, то рассмотрим вопрос установки белого письменного стола в жилище. В последнее время все большее количество людей приобретают мебель белого цвета, не стал исключением и письменный стол. Чем же хорош этот цвет? Отвечаем: его очень легко вписать в интерьер любого оттенка, да и по дизайну он запросто подойдет любому стилю.

С точки зрения китайского учения фэн-шуй любой цвет на уровне подсознания серьезно влияет на эмоциональное состояние индивидуума. Философия данного течения рассказывает о том, что с помощью использования различных оттенков и колоров в интерьере можно восстанавливать физический и душевный баланс и подавлять негативные эмоции и различные заболевания.

  • Исходя из принципов сочетания цветов пяти стихий, они должны быть подобраны правильно и взаимодействовать друг с другом. Создавать в квартире гармонию, комфорт и умиротворение. В противном же случае, в жизни людей, находящихся в таком помещении, наступит череда неудач или потерь в сфере деятельности.
  • Опираясь на ту же фэн-шуй философию, мы узнаем, что белый – это цвет духовного исцеления и пробуждения лучших человеческих качеств. Рекомендуется в интерьерах особо вспыльчивых людей, так как ведет к смирению.
  • Не стоит забывать, что большое количество белого ведет к возникновению депрессии и апатии, привлекает в жилище холодную энергетику. Поэтому используйте его только в сочетаниях с яркими и насыщенными колорами.

Белый глянцевый письменный стол с надстройкой (лак)

Белый глянцевый письменный стол с надстройкой (лак)

How To Cook A Turkey

There are many ways to cook a holiday turkey, Keenan said, but the most traditional way is using a roasting pan or sheet tray to cook the bird inside the oven.

The general rule for determining cooking time for a turkey is to allow 13-15 minutes per pound.

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“You’ll want to cover the contact surfaces with aluminum foil to help cook the bird more evenly and keep the clean-up mess to a minimum,” Keenan said. “Whether or not you stuff the turkey, place an aluminum foil tent over the top to keep it from burning. Preheat the oven to 325-350 degrees and place the prepared turkey on the oven’s lowest rack level.”

Keenan suggested allowing the turkey to cook for at least one hour before opening the oven to begin basting.

Remove the turkey from the oven and remove the foil from the turkey. Baste the turkey every 20-30 minutes until it’s almost completely cooked, remembering to put the foil back over the turkey between bastings. For the last half-hour or so of cooking time, remove the foil and bring the oven temperature up to 425-450 degrees.

“To baste, tilt the pan and use a turkey baster or spoon to scoop up the liquids at the bottom and then drizzle them over the turkey,” she said. “The basting helps keep the meat juicy and cools the breast meat so it cooks more evenly with the legs and thighs.”

She said toward the final 30 to 45 minutes of cooking, you can smear some melted butter or oil over the top of the turkey to help crisp up the skin and give it a rich, dark-brown color.

Prouse noted a vital tool in the cooking process is a food thermometer for checking the interior temperature of the turkey – and the stuffing if the bird has been stuffed.

“A good food thermometer is possibly your most important item when cooking a holiday turkey,” Prouse said. “It allows you to tell how well your turkey is cooking and helps avoid any frozen or cold spots. During cooking, check the temperature in the thickest part of the breast and thigh. If the bird is stuffed, make sure to check the stuffing temperature as well.”

She said the interior of the turkey and the stuffing should be heated to at least 165 degrees to ensure any pathogens are eliminated. It will usually take about three hours to cook a 10-pound turkey – a little longer if stuffed.

Once the turkey is completely cooked and is at the right interior temperature, remove it from the oven and let it sit for 20-30 minutes with the tent foil still atop.

If the bird is stuffed, there is no hurry to remove the stuffing. Allow the stuffing to cool while the turkey is cooling, then remove the stuffing just before you’re ready to serve.”

Pool & Patio

Los Angeles–based artist Paul Rusconi Hollywood Hills home pool and patio terrace

The living room opens out to the home’s hardscaped patio and pool. As in the interiors, Rusconi did little to change the design here. His only addition was a fence to keep canyon coyotes out and allow their four chickens to “cruise about” with no fear.

The house, measuring just under 2,400-square feet, is the perfect size for the family. “Jordan and I both love smaller homes,” explains Rusconi. “My grandfather always said close quarters mean close hearts.”

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