HOW TO DECORATE A GREAT ROOM - A GREAT ROOM
How to decorate a great room - Decoration bath - Table decoration for birthday
How To Decorate A Great Room
- A large room in a modern house that combines features of a living room with those of a dining room or family room
- The term great room denotes a room space within an abode which combines the specific functions of several of the more traditional room spaces (e.g. the family room, the living room, the study, etc.) into a singular unified space.
- The great room harkens back to the great halls and chambers common in medieval castles that contained one large central living area.
- Make (something) look more attractive by adding ornament to it
- Provide (a room or building) with a color scheme, paint, wallpaper, etc
- deck: be beautiful to look at; "Flowers adorned the tables everywhere"
- Confer an award or medal on (a member of the armed forces)
- award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
- make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
- Providing detailed and practical advice
- (How To’s) Multi-Speed Animations
- A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.
- Practical advice on a particular subject; that gives advice or instruction on a particular topic
Budget Living Home Cheap Home: A Room-by-Room Guide to Great Decorating
Spend smart, live rich.
When it comes to decorating with sophistication and flair, great style doesn't have to come with a big price tag. The editors of Budget Living magazine, the leading experts on living large and spending small, give readers the lowdown on design and show how to transform a home into a haven----without breaking the bank.
From tiny studios to sprawling houses, this innovative do-it-yourself guide will inspire readers to add color, wit, and chic style to every room in the home. From floor plans and storage opportunities to quirky finishing details and small-scale projects, this book teaches you everything you need to know, including:
€ How to use color to energize and unify your home
€ Where to find distinctive pieces that bring panache to any room
€ What you can do yourself-and when to defer to the experts
€ How planning ahead and thinking creatively can save you thousands of dollars
€ Why sometimes the smartest thing you can do is splurge on something you really love
Downtown Manhattan, Manhattan, New York City, New York, United States
The 15-story Beaver Building, designed in the neo-Renaissance style by the well-known and prolific firm of Clinton & Russell and built in 1903-04, was commissioned by the Century Realty Co. as a speculative office building. The steel-framed, flatiron-shaped structure occupies a narrow quadrilateral lot at the juncture of Beaver and Pearl Streets near Wall Street. The design has the tripartite arrangement of base-shaft-capital common to many of New York's early skyscrapers, with a stone base, a midsection faced in brick laid in bands of tan and buff shades, and a top section richly ornamented with glazed terra cotta in shades of green, cream, and russet, incorporating both classically-derived and abstract geometric motifs. The Beaver Building is a notable example of the design solution for turn-of-the-century New York skyscrapers in which each section of the tripartite scheme is differentiated by color and materials. It is also a very early example of the use of boldly polychromatic glazed terra cotta, as well as a significant survivor of this period of terra cotta development. Carved ornament depicting beavers, representing the name of the building, is found over the Beaver Street entrance and below the primary cornice of the base. The building was the headquarters from 1904 until 1921 of the Munson Steamship Co., a prominent shipping line active in the Cuban and South American sugar and lumber trade; the company owned the building from 1919 to 1937. From 1931 to 1972, one of the building's primary tenants was the New York Cocoa Exchange, the world's first and foremost cocoa futures market, amidst the United States' emergence as the world's largest cocoa consumer. Despite some alterations in the 1980s, the Beaver Building remains a notable example of a medium-height, turn-of-the-century skyscraper on the narrow streets of lower Manhattan.
DESCRIPTION AND ANALYSIS
The New York Skyscraper his architectural training in the office of Richard
During the nineteenth century, commercial buildings in New York City developed from four-story structures modeled on Italian Renaissance palazzi to much taller skyscrapers. Made possible by technological advances, tall buildings challenged designers to fashion an appropriate architectural expression. Between 1870 and 1890, nine- and ten-story buildings transformed the streetscapes of lower Manhattan between Bowling Green and City Hall. During the building boom following the Civil War, building envelopes continued to be articulated largely according to traditional palazzo compositions, with mansarded and towered roof profiles. New York's tallest buildings — the seven-and-a-half-story Equitable Life Assurance Co. Building (1868-70, Gilman & Kendall and George B. Post) at Broadway and Cedar Street, the ten-story Western Union Building (1872-75, George B. Post) at Broadway and Liberty Street, and the ten-story Tribune Building (1873-75, Richard M. Hunt) on Park Row, all now demolished — incorporated passenger elevators, iron floor beams, and fireproof building materials. Beginning in the later 1870s, tall buildings were characterized by flat roofs and a free, varied grouping of stories, often in the form of multi-storied arcades, within the facades. Ever taller skyscrapers were permitted by the increasing use and refinement of metal framing. In 1888-89 New York architect Bradford Lee Gilbert used steel skeleton framing for the first seven stories of the eleven-story Tower Building at 50 Broadway (demolished). Beginning around 1890, architects began producing skyscraper designs that adhered to the tripartitebase-shaft-capital arrangement associated with the classical column, a scheme that became commonly employed in New York. The technology of steel framing, often used in conjunction with caisson foundations, advanced further during the 1890s, pioneered by engineers and by architects Francis H. Kimball and Bruce Price. This technology allowed for the construction of tall buildings on relatively small, awkwardly shaped sites, like that of the Beaver Building, designed by the firm of Clinton & Russell.
The well-known and prolific firm of Clinton & Russell, formed in 1894, was responsible for scores of buildings in New York City at the turn of the century, including many early downtown skyscrapers, notable luxury apartment houses and fashionable hotels, and institutions, often designed according to Italian Renaissance prototypes. Charles William Clinton (1838-1910), born and raised in New York, received Upjohn, until he left in 1858 to begin an independent practice. The following year, he formed a partnership with Anthony B. McDonald, Jr., which lasted until 1862; he was later associated with Edward T. Potter. For the next 32 years Clinton practiced alone; aside from the Seventh Regiment Armory (1877-81), 643 Park Avenue, most of his important buildings during
The Bar @ Colborne Lane & Impressions
Avant-garde fine dining? Can this be a reality in the city of Toronto, still relatively green in establishing its place in the highly competitive world of dining. Perhaps it is Chef Claudio Aprile's bold endeavour to introduce a conservative Torontonian palate to the somewhat new movement of Molecular Gastronomy that has all the buzz a-going. I was personally excited in partaking in a local "MG" experience, particularly after a recent trio of gluttonous MG-centered pleasures in Chicago (Avenues, Alinea and Moto). I also knew that my impression of Aprile's nascent work could end up being an unfair comparison to that of Achetz, Bowles or Cantu (who are all still very young), as honing in ones craft takes both effort and time. As the only chef who is currently serving up molecular gastronomic creations, Aprile is our industry standard, a position, I am sure we'll see more competition of in this fair city as the days pass.
Housed in a heritage warehouse building, the aptly named Colborne Lane (as that is the address) hides amongst other new contenders to the city's burgeoning restaurant scene, taking over the space of what used to be Cafe du Marche. Its physical appearance also challenges the visual senses. Lost are the days of fine dining with white linens and table cloths, Aprile (ex- of Senses) & Harji (of Blowfish and Kultura) take the pretentiousness out but leave the higher prices in. Don't get me wrong, Colborne Lane is still a restaurant that is lit by candlelight, but is also decorated by interestingly shaped light fixtures that appear to come out of an artist's garage. The establishment also leaves out the warmth and romanticism that one typically feels when out consuming a special meal, replacing it instead with a rather dark and cool room filled with mild rock 'n roll/alternative music and decibel breaking chatter.
Not quite a dining experience that caters to most patrons, the do-it-yourself tasting menu creates a situation where you, as the diner, possess the responsibility of making the most appropriate selection of courses. In that sense, one is challenged in how he or she will make or break his or her evening. Does one focus on meat-centrity or attempt to make a fine balance between courses (i.e. can you trust yourself to get enough vegetables with your meal, or order some light and heavier items)? Will one be bombarded with too many flavours from all ends of the spectrum or stay conservative with monochromatic familiarities? Does one try to select options that feature a logical progression in the course of the plates or does one choose on the basis of components of interest alone? And although there is much potential on paper with the items offered, and there is good use of fantastic ingredients, along with the application of nouvelle concepts and interesting dishware, Aprile's kitchen appears to try just a little too hard in winning over tastebuds. Conceptually the chef's work deserves great applause; I seriously appreciated his attention to the visual and textural game, however menu items provide too many tasting options on a single plate and end up overwhelming the diner's senses. Sometimes variety is a good thing. For Colborne Lane, it doesn't always work and can leave one slightly confused.
Additionally, with the advent of tapas sized dishes, one is required to select at least 3-4 plates in order to find satisfaction. So do consider ordering your own dish if an item peeks your interest, because there really isn't enough to go around to share. And although this result in many tastings for any given diner, it also contributed to a hefty final bill due to the increase in trapped white space found on each of the large platters. (A big thank you to KJ of SE and her kind and generous invitation for me to join in on an evening of lovely company).
Service is friendly and respective, and depending on who is serving you, you might also be gifted with silence inducing dry humour that is offered at the most inappropriate of times. (After we had finished our desserts, JL was asked how he enjoyed things and when he hesitated to reply, was hit with the statement that the server would send his insults to the pastry chef – a remark that seemed to stem out of nowhere. Poor JL! I must give kudos to our initial server who was more helpful, quite pleasant and patient with us (rather me, and my camera).) The kitchen does send out plates slowly, so be prepared to wait a little (or a lot) between courses.
Colborne Lane does successfully provide the city with a segue into an interesting and progressive movement in dining. It is a refreshing move from the tried and true establishments of yesteryear, but sometimes it is with ventures like these that can make one appreciate why the tried-and-true remain as such. Whether or not Toronto is receptive of such novel forms of dining is another issue that can only be tested with time.
how to decorate a great room
From Interiors by Decorating Den--an internationally famous interior design service--comes a lavish, picture-rich guide with the most exquisite plans for guest rooms ever. For the home decorator, it's like having a professional right by your side as you do the work.
What makes a guest room great? How can you create one in a small space and on a limited budget? With lush inspirational photographs, tip boxes, and checklists, a group of designers from the celebrated Interiors by Decorating Den provide the answers to these and a host of other questions. These fabulous rooms feature a wide range of styles, including traditional, contemporary, French Country, British Colonial, and Zen--and they're all shown in large color pictures that make it easy to view every dazzling decorative detail. Some are gracious and spacious, others have twin beds, and still more take a "no frills" masculine approach. Almost everyone will appreciate the deas for rooms that do double duty and serve other functions when the visitors go away. Find out exactly what amenities the experts feel should be in every guest room, and see what advice they have to offer on specifics such as thread counts for the sheets, pillow firmness, ceiling fans, and lighting options. Thirteen beautifully decorated guest baths complete this lovely to look at and practical to use guide. A Selection of the Homestyle Book Club.
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