Nick's Sunflower is based solely around the Sunflower, or what a sunflower would smell like if it had a scent…The scent is delicate, fun and happy, yet an intriguing choice for a fragrance as the sunflower actually has no scent.
So reads the press release accompanying EB Florals Nick's Sunflower. As the press release further informs us, EB Florals's founder Eric Buterbaugh is a "globally renowned floral designer" who "embarked on an exciting venture to return perfumery to its refined luxury status" by paying "homage to the sublime notes of highly coveted flowers." Nick's Sunflower was inspired by Venice, California, hat designer Nick Fouquet, who loves sunflowers, a flower Eric Buterbaugh admits he's not wild about.
Now, back to this abstract interpretation of a sunflower. What might a sunflower smell like to you? I think of heat, earth, corn cobs and squirrel fur. (Good thing I don't have my own perfume line, huh?) From sampling Nick's Sunflower, I conclude the folks at EB Florals think of peppery musk.
Nick's Sunflower was developed by nose Ilias Ermenidis and includes notes of linden, quince, litchi, narcissus absolute, nectarine, orange flower, tiare, jasmine sambac, osmanthus, tuberose absolute, musk and ambrox. Despite this marvelous list of juicy fruit and vibrant flowers with its kick of hay and leather, its overall feel is of burr-like peppery musk. Imagine King Kong with a name tag that reads "Peppery Musk" clutching a few wilted tuberose petals in one hand and a sliver of bruised orange peel in the other, and you have Nick's Sunflower.
This couldn't be right. Look at the mouthwatering list of notes. Plus, a talented nose with lots of training and a support team of professionals created this fragrance. At least a few other people likely weighed in on it, too. Surely, they wouldn't greenlight a perfume that smelled like the worst part of the past five years of department stores fragrances?
I wondered if my skin was distorting Nick's Sunflower, so I pumped four or five spritzes on a cotton napkin. The musk was much less prominent on cloth, and it smelled more citrusy — at first. Then the peppery musk wafted to the forefront, but it wasn't as pronounced as on my skin. I liked Nick's Sunflower better on fabric. I also thought, maybe it's my nose. Maybe I don't have the nasal sensors (I'm sure this is how a biologist would describe it) to complete the fragrance.
After half an hour on skin, Nick's Sunflower's peppery musk does quiet — in fact, the whole fragrance retreats to a subdued hum that would be fine in an office, no problem. But the weave of peppery musk that survives feels like the sting of an earlier slap, and I have a hard time smelling past it. Nick's Sunflower lasts a good four or five hours, and it reads to me as perfectly unisex.
If any of you have tried Nick's Sunflower, please comment on your experience, especially if it was positive. Let me know what I'm missing!
EB Florals Nick's Sunflower Eau de Parfum is available at Saks Fifth Avenue and at the Eric Buterbaugh Gallery. It is available in a 250 ml crystal decanter ($495), 100 ml crystal decanter ($295), and a 10 ml sampling vial ($75).
1. Except for the ellipsis in brackets, the ellipses don't indicate any missing text and are part of the original press release.
Note: top image is Sunflower petals [brightened] by ProFlowers at flickr; some rights reserved.
Can't bear those peppery musks – they ruin so many modern fragrances. I'll take your squirrel fur over that any day of the week!
I'm perplexed as to why peppery musk is so popular. It's not pretty, and it's not even ugly in a good way. I'm stumped.
I'll stick with the classic Elizabeth Arden Sunflowers!
Waaah! I was just thinking someone needed to develop a linden and jasmine combo after smelling it "in the wild" in Aix-en-Provence. AND I'm from the Sunflower State (Kansas). Maybe Tauer or SSS can do it.
What a heady experience that must have been to smell that–and in Provence, no less! I can see why you'd want to recreate it.
Have you tried Ann Gerard's Ciel d'Opale? They don't actually list linden as a note but it smells more like real linden than any of the linden scents I've smelled (might be what is listed as honeysuckle). There are rows of linden trees blooming right now where I live. Cd'O also has jasmine. Just sayin'….
Ooh, I haven't, but I really like her Rose Cut! Your description sounds like it might be what I'm looking for. I've got a bunch of linden samples wending their way to me now, but I'm always happy to try more.
I love Rose Cut, too! I cherish my bottle.
I really like Ciel d'Opale and LOVE Perles de Mousse.
Hmm, I think I hear the faint pitter-pat of lemming feet outside my door….
I could look at it this way: if you are going to make a perfume that smells of a flower that doesn't particularly smell of anything, then some peppery musk could be a solution?
It could, as long as you like peppery musk. For me–maybe not for everyone!–peppery musk is a greased pole to a headache.
Still laughing over this review, Angela!
And I find it extremely ironic that their press release states: "…paying homage to the sublime notes of highly coveted flowers" and then he picks a flower with no scent! Wha???? And at those prices. Aspirational indeed!
I know–it was kind of mean of me to include that snippet of press release. I had to clean up the list of notes, too, because it (for instance) included "Natureprint" as a note when it's the name for a proprietary sort of headspace technology.
But your adding that made for such great reading!
And they did seem proud of it…..
I should add that I'm really happy to see that they offer a 10 ml size! I wish more perfume houses did that.
Mixed blessing! Do you want even 10 ml. of this? Or are you being optimistic for future releases?
I don't, in fact, want 10 ml of this one. But I like the idea in principle of the 10 ml size!
I bought a sample because I fell in love with the list of notes (after talking myself of blindly buying the small spray) and I'm so glad I only got the sample. The peppery aspect didn't bother me, but I was underwhelmed. I guess I was hoping for magic because I love fields of sunflowers so much.
I've only seen whole fields of sunflowers once, and it bowled me over. It truly was beautiful.
Interesting. I've never done this, but would be fun to line up two or three willing friends, spray them with the same perfume and get them to smell it on their own AND each other's skins. Would that peppery musk be so prominent to you on someone else? Would they notice it on themselves? On you? It all comes down to the relationship between how a perfume reacts on our skins and how it is processed through our brains. So interesting.
I've never done this sort of experiment, either, but now I'm tempted. It would be fun to choose, say, three fragrances to play around with.
You can do this at our house with friends, for example, or simply go shopping with a group and all try the same fragrances. It's very revealing. Anyone who denies that skin doesn't make a difference must never have been in a group of people all wearing the same thing.
I know just what you mean. I think a person's personality influences how well a scent "jives" with them, too.
This is a really good idea for an experiment. As a matter of fact, Dawn Spencer Hurwitz actually sells a fragrance called Special Formula X, which is a musk fragrance that she uses to identify the skin type of her clients (imagine that–she admits skin type makes a difference). On almost everyone the musk evolves in different ways over time, becoming sweeter, more woody, more floral, etc. That helps her figure out what fragrance notes you might want to avoid. I did some testing with a perfumista friend who has an excellent nose and the results were intriguing and seemed to confirm the conclusions we'd already come to through experience.
This is the first I've heard of Formula X, and I'm fascinated! What a great idea.
That is so interesting! I'd love to try it on both men and women. I have often wondered whether masculine and feminine skins bring out different notes in the same perfume.
It would be fun to try on different colorings, too, to see if the old saws about certain fragrances favoring brunettes, etc., are true.
On the other hand, there are things I get just from sniffing the bottle that are just awful, like that spiky wood and probably some musks as well. Someone even recently used me as a "tester" asking me to sniff something on a strip to verify that it had the synthetic wood in it. Took me a split second: yes it did!
From what your friend B. says about you, you and I are scent twins! Do you amp and/or hate musk?
I don't think I amp musks (though possibly that's going on with the Tauers for me?) but now that you mention it, I probably don't like it much. That being said, I wonder about the musk in vintage fragrances (since those almost always smell good to me even if I don't like them, if you know what I mean).
I'd have to know more about your skin & tastes to claim you as an official twin, but for now we can be scent sisters!
Exactly! The musk in vintage scents is the outlawed nitro musk. I don't dislike or even notice the smell of that, although from what I've read, it does have some iffy/bad health implications.
And my perfume taste in a nutshell: I could give away all of my perfume except my old Guerlains and still be perfectly fine.
I wore some vintage Shalimar extrait last night while I read and LOVED it.
I can relate, and I have to wonder if that's the issue with me and particular peppery woody musks that have been showing up everywhere. I can't stand them, but they're getting harder to avoid, especially in modern department store fragrances.
Someone, maybe Laura?, sent me several samples of Buterbaugh's scents… I was totally underwhelmed. I love his bottles, and the backstory of the floral designer turned perfume brand, etc. But the copy you posted says it all, "Nick's Sunflower was inspired by Venice, California, hat designer Nick Fouquet, who loves sunflowers, a flower Eric Buterbaugh admits he's not wild about." Huh?
I haven't tried any of his other fragrances, and I guess I was hoping this one was an outlier. But it sounds like maybe it isn't….
I like his Sultry Rose but I don't like the price! His Apollo Hyacinth was nice but not nearly as true a hyacinth as Jo Malone's Blue Hyacinth. Wow, do I love those EB bottles, though! Simply gorgeous.
The crystal decanters really are nice–so classic. They'd be great on a dressing table.
Gee, Angela, "heat, earth, and corn cobs" sounds pretty good to me. I've never smelled squirrel fur, though, so will reserve opinion there . . .
Me, neither! Let's just say that "squirrel fur" is one of those conceptual notes.


Now that is a great sentence. That is children's literature.
I was going to leave it at that, but then when I googled "Evaline Ness", I found out that she was married to Eliot Ness, the man who brought down Al Capone. WHAT?! Why this was never mentioned in The Untouchables?! It would have added an interesting dimension to the movie: Evaline trying to write/illustrate her children's books while dodging bullets from Capone's thugs. She could have even asked Sean Connery to proofread a draft for her. How much would you pay to hear Connery read the following passage?
"Moonshine was a mermaid-mother, a fierce lion, a chariot drawn by dragons, and certainly a baby kangaroo. It was all flummadiddle just as Bangs had told her."
Seriously, it would be worth the price of admission just to hear Connery say "flummadiddle". That would have wrapped up the Oscar for him right there.
"There's good MOONSHINE and bad MOONSHINE," he said. "The important thing is to know the difference."
Was Evaline revealing her own moral misgivings surrounding her husband's role in the prohibition era?
Did her famous law enforcement husband share these same doubts with her behind closed doors?
Did the Ness's partake in a little moonshine themselves? Perhaps at a speakeasy called the Mermaid Mother?
Or was the book (which was printed in 1966, 20 years after her divorce from Eliot Ness) meant to be a not-so-subtle jab at her famous ex-husband?
Kristof's Best Kids' Books EVER!!!
Kristof Favorite: "Charlotte's Web." The story of the spider who saves her friend, the pig, is the kindest representation of an arthropod in literary history.
Related Kristof Article: "Humanity Even for Nonhumans." Writings by a Princeton scholar have popularized a movement to grant basic protections to pigs and chickens and to limit human dominion over other species.
Connection: To what extent do humans have the right to decide the fate of animals?
Kristof Favorite: "Wind in the Willows." My mother read this 101-year-old English classic to me, and I'm still in love with the characters. Most memorable of all is Toad — rich, vain, childish and prone to wrecking cars.
Related Kristof Article: "It's Time to Learn From Frogs." Scientists are beginning to find a connection between bizarre deformities in water animals and abnormalities in humans.
Connection: A young Kristoff learned valuable lessons in morality from a misbehaving anthropomorphized toad; scientists learn valuable lessons about humanity by studying genetically misbehaving amphibians.
Kristof Favorite: "Gentle Ben." The coming-of-age story of a sickly, introspective Alaskan boy who makes friends with an Alaskan brown bear, to the horror of his tough, domineering father.
Related Kristof Article: "Obama, Misha and the Bear." President-elect Barack Obama needs a new approach to Russia if we want to avoid a new cold war, and we also need to get over our crush on Georgia's president, Mikheil Saakashvili.
Connection: Coming-of-age story, of an skinny, introspective young president who attempts diplomatic relations with possibly hostile parties, to the horror of his tough, domineering predecessors.
I could go on, but I think you get the idea. The conversation continues, as Kristof invites people to list their favorites here.


Additionally, the census has provided us with two more ring entrances. Take a gander as the New Day strut down the entrance ramp as Big E gyrates, Kofi enthusiatically claps, and Xavier boisteriously plays his trusty trombone, Francesca 2. Also, watch the "The Man" Goldberg get escorted to the ring.
The list is almost complete. The Suplex City Census ends next week with its final roster reveal.
Developed by Yuke's and Visual Concepts, WWE 2K17 is the next edition of the wrestling franchise. The game will release on October 11 for PlayStation 4, PlayStation 3, Xbox One, Xbox 360, and PC.


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About Clinks and our members
Do you work with people affected by the criminal justice system or their families?
Do you support people in the criminal justice system?
Clinks supports, promotes and represents voluntary organisations working in the criminal justice system in England and Wales. Our members are at the heart of what we do.
Clinks membership offers you a voice to influence change, practical assistance to be effective and resilient and support from a community of like-minded professionals. Join our network of over 600 voluntary organisation members, from unstaffed community groups to the largest providers.
Join Clinks
Clinks provides a collective voice for voluntary organisations working in the criminal justice system. We have an ongoing dialogue with our members who share with us their experiences and views. We make evidence based recommendations for change.
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We respond to government and influential stakeholders. We meet regularly with the Ministry of Justice, Cabinet Office and the Home Office, submit responses and represent members on influential bodies.
Stay informed and up-to-date
Clinks provides concise, targeted information, so you can stay up-to-date quickly and easily. Our ebulletins deliver criminal justice news, events, resources and guidance. We also publish specialist ebulletins covering criminal justice policy, and health and justice news.
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We collate our members' expertise, identify and share key lessons and knowledge. We celebrate our members' successes and highlight their work in case studies.
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We advise, support and signpost to sources of further information, enabling you to provide the best opportunities for your staff and the people you engage with:
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Clinks brokers partnerships and develops networks. Through our online directories, you can identify potential partners, mentoring support and services supporting people in the criminal justice system.
Share your news with our extensive communications network, which reaches over 11,000 people working in the criminal justice system, through our ebulletins and social media activity.
Share experiences and problem solve with like-minded professionals at our events and through our specialist networks for service user involvement managers, women's organisations and those that work with the arts – the National Criminal Justice Arts Alliance provides an engaging and dynamic network for voluntary organisations working in criminal justice and the arts.
Browse our full range of member benefits for full members and associate members
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The member advisory forum enables Clinks to bring member organisations together to share knowledge, challenges and best practice. This enables Clinks to best understand and support the development of its members to deliver the highest-level impact for the people they exist for. The forum is integral to the ways we measure how we are meeting our strategic objectives, how we understand the current challenges our members face and what the sector needs from its membership body.
We have built a space which is representative of the sector in terms of the areas and types of work that voluntary organisations working in criminal justice do. The forum adds to the existing ways that we involve our members in our work, building on our regional and thematic networks, and our use of intelligence from our members in our policy work and consultation responses. You can find out more about the forum by reading our full terms of reference here. We publish the meeting notes of all member advisory forum meetings on our Publications page.
To view the advisory forum members click here.
If you are interested in joining the forum, or would like to find out more, email membership@clinks.org.
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Gorgeous, quiet lake neighborhood. This residential lot will be parceled off from owner's current property. Survey will be completed at owners cost after acceptance of contract.
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Small Donors Rising
Posted by actblueblog On July 30, 2007 Filed under Analysis, In the News
Before heading out for the weekend (and in the midst of ActBlue's move to new offices) I wanted to briefly touch on some presidential fundraising numbers compiled this week by OpenSecrets.org and the Center for Responsive Politics.
From April through June, donors who gave $200 or less [to presidential campaigns] accounted for 26 percent of the contributions the candidates collected from individuals. Compared to the first three months of this 2008 election cycle, small donors increased their giving to the candidates 84 percent and just about doubled their share of the money raised from individuals. In January through March, donors contributing $200 or less accounted for 14 percent of individual money.
The trend from Q1 to Q2 fundraising in 2007 has clearly been in favor of small donors. I see two factors at work here. The first is the natural pattern of presidential fundraising, where the first fundraising period consists of a high number of $2300 checks, the maximum contribution level. This 'big money' is tapped first to jump start campaigns but of course, results in an inability to re-solicit donors as they have already given the max amount. The second pattern is an actual increase in small dollar contributions resulting in increased total Q2 fundraising numbers (compared to the percentages shifting just because one area of revenue has declined). Clearly, those who have given small contributions before are giving again in addition to the new small donors being added to the pool of givers.
In our training materials and fundraising calls, we at ActBlue point out this benefit to campaigns. Small donors (often correlated to online donors) can be re-solicited throughout a campaign. Having a strong small donor base is equally important to contacting those who can give the maximum amount as it can sustain a campaign longterm. It distributes power to more individuals and diversifies the audience to whom campaigns are accountable. The following section from the aforementioned press release puts this in context.
Among corporate contributors in all industries based on contributions from employees, their families and political action committees, no company has invested more in these candidates than Goldman Sachs, the Wall Street firm. Goldman's executives and employees have donated about $930,000 in the last six months. Investment firms Citigroup, Lehman Brothers, Merrill Lynch, Morgan Stanley and JP Morgan Chase round out the overall top donors.
But the biggest "contributor" of all at this point is the progressive group ActBlue, which facilitates individual donors pooling their money to finance Democratic candidates. By collecting mostly donations of $200 or less, ActBlue has directed more than $1.5 million to the presidential candidates, the bulk of it to Edwards.
In this case the aggregate of contributions through ActBlue represent no specific industry or collection of people other than an aggregate of donors to presidential candidates. Still, this expresses the shift in the distribution of giving from Q1 to Q2. (To note, the $1.5 million is figured from donations $200 or more- a couple million more exists in contributions less than $200 which are not required to be itemized.)


To think of only one woman who inspires me the most is a difficult task as there are so many wonderful and influential heroines to mention for example Rosa Parkes, Josephine Baker, Beatrix Potter, Dolly Parton, Virginia Woolf, Ella Fitzgerald and Audrey Tautou…an eclectic and extensive list that could go on! However I have decided to write about someone who is little known to most, but certainly a great heroine of mine: a Swiss artist called Emma Kunz.
Picture 1: Emma Kunz sketch, coloured pencil on paper.
It was a dank and dreary day at Uni last year when in a dark corner of the library I came across a book entitled 3 X Abstraction, a modest looking hard back, a little dog eared but smelling wonderfully of old musty paper! I stared in awe at the intricate spirograph-like drawings of Kunz and felt that heart crushing sense of wholeness one feels after coming across a kindred spirit.
Picture 2: Emma Kunz sketch, coloured pencil on paper.
Emma kunz was an artist and healer who lived in Switzerland from 1892-1963. She was a recognized researcher and used her artwork to heal sick patients. From a young age she believed in the power of telepathy and prophecy and practiced using a pendulum which became the basis for her artwork. Present in her drawings is an intense energy and sense of movement which was dictated by the swing of the pendulum illustrating various energy fields that Kunz believed she could see. She did not believe in miracles however, only abilities that lie dormant in us all. In 1941 she discovered in nearby caves a healing rock called AION A which she used to help her friend Aton C.Meier when he became seriously ill with infantile paralysis. AION A comes from Greek aion meaning without limitations and the substance heals not only through its mineral composition but its bio dynamic energy. It is used by many doctors today in Switzerland and Kunz believed it to have not only physical healing powers but the ability to heal a spirit.
From 1938 Kunz began making large scale drawings on graph paper which are not only beautiful but encode a vast amount of knowledge. She would complete a drawing in a day staying up all night to finish if she had to. She describes them as follows 'Shape and form expressed as measurement, rhythm, symbol and transformation of figure and principal'. This is certainly apparent in the resulting images where angles and lines swirl together forming a colourful and energetic mass.


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MAT CHIVERS : NIROX RESIDENCY : SOUTH AFRICA
FILM & PDF
By Ms. Raydon
MAT CHIVERS – ALTERED STATES – SOUTH AFRICA
Q&A – HELEN PHEBY & MAT CHIVERS
NIROX Foundation, Benji Liebmann, Mary-Jane Darroll, Beathur MGoza Baker, Allen Laing & Heidi Fourie, John Nkhoma, Maria Mwase, Stephan & Tammy Du Toit, Trent Wiggle, Niel Nieuwoldt, Prof. Francis Thackery, Prof. David Lewis-Williams, Prof. Bernhard Zipfell, Dr. Sarah Wurz, Dr Mpho Matsipa, Manthe Ribane, Mada Sthembiso, Pieter Burger, WAKE, VATIC Film, Brett Rubin & Nicole Van Heerden, Tom Glenn, Kieron Jina, Joni Barnard, Mametja Moshe, Solly Tsmamabolo, Ted Moyo, Artist Proof Studios, Kim Berman, Sara-Aimee Verity, Nathi Nladla, Dumi Sani, Bevan de Vet, Danie Nel, Didier & Fiona Presse, Anthea Pokroy, Kayombo Magadla, David Adjaye, Jonathan Liebmann, Shruti Nair, Colin Dalton, Prof. Minhyong Kim, Dr. Dominic ffytche, Dr. Balazs Szendroi, Aymeric Peguillan, Richard Forbes & Kate Bailey, Angus & Reena Taylor, Alex von Klitzing, Francis Goodman, Ruann Coleman, Anna Nordquist Anderson & David Svensson, Mohau Modisakeng, Hannelie Coetzee, Primitive Magazine, Akira Wang, Daniel Liebmann, Monna Mokoena, Anton Taljaard, Helen Pheby, Carrie Scoville, ERJ
Sunrise over The Cradle of Humankind, Guateng, South Africa
Arriving just ahead of sundown at O.R. Tambo airport, I wait in the limbo zone before security and take the opportunity to put some thoughts down while I am still on African soil. Thinking back to the opening of 'Altered States' a few nights ago, in my mind's eye I go over the experience of walking around the space after the opening, alone with the work that I had installed there: the flyers advertising penis, breast and buttock enlargement on the pillars; gun related graffiti, signs and tags; drill marks in the floor that uncannily echo the marks in the stone, masked spray marks that riff with marks in the prints; harsh expanses of flaking dry concrete and peeling paint; the countdown of workstation numbers that string a rhythm around the space; the incessant stream of traffic crossing the overpass; a spatter of blood on the wall in the space where the party was held; the stench of burning plastic mingling with the sweet scent of food and sweating rubbish on the night air; and close-by the sound of a late bar pumping a deep throbbing beat that I can feel in my solar-plexus, are all part of what is already coalescing into a memory. It seems to me that the space was a fitting counterpoint to this body of work evolved in the openness of the bush, in the Cradle of Humankind
My residency at NIROX has been an extraordinary opportunity to experience first hand how our evolution as a species has been supported by the geophysical environment within which those changes may well have happened. Also, how the constants of nature have had an influence on the development of our consciousness and continue to do so. Looking at the way we are making now in the digital moment it doesn't seem so far removed from those early marks. We are still working with the same fundamental forms that are constants of nature, or rather those constants are working through us. As a result of engaging with the materials of the place – of thinking, through engagement with materiality – I have been able to go deep into the condition of the site. Rather than having arrived at any definitive conclusions, it feels like questions have been posed and a conversation started
A lot of South Africans have been asking me during my time here if I have been to such-and-such a place to which I have always answered no, because I have simply moved on a path between the Cradle of Humankind and Johannesburg for nearly five months. Backwards and forwards – the route between the two locations acting like the energetic bond between two atoms – the sum of which is billions of years of planetary evolution. My time in South Africa somehow reminds me of a book I read many years ago – 'The Rings of Saturn' – where the protagonist meanders on an internal odyssey whilst on a walk of more prosaic proportions. I know that I have travelled nearly to the other side of the world to be in Africa but since being here I have attempted to focus my attention on getting to know the relationship between the deep geological past that is so palpable in the Cradle of Humankind and the present reality of the continents main city. I have travelled a fair bit in my life so far but I have felt something in South Africa that I have not experienced to such a degree before – that of a sense of potentiality or immanence – Africa may well be our past but my intuition tells me that it is also likely to be our future
Tomorrow the show opens at Hallmark and there is still a lot to do. Solly drove by NIROX after picking up Mada and Manthe and we went into town together. Every journey into Johannesburg that I have taken in the past months has taken me past Zandspruit informal settlement. What would formerly have been known as a township – now supposed to be called an informal settlement or simply a 'location', Zandspruit is a highlight of the journey for me. Colourful signs and graffiti adorn the sprawling but tidy assemblage of zinc-clad shacks and lean-tos that border the eastern side of the road and spread down the hillside for many acres. Early in the mornings and late in the evenings, the lanes throng with people on their way to, or coming back from work. Most of the rest of the time, from the my perspective on the outside, the whole place has looked like a constant party, with crowds of brightly dressed residents gathered in groups talking, shopping, hanging out listening to music and walking the red earth roads and alleyways that thread through the settlement. For me, Zandspruit and the glimpses that I have had of the Central Business District of Johannesburg feel the closest to the idea of 'Africa' that I had before actually being here. Interestingly, any attempt to pull up a Google maps road view of Zandspruit doesn't yield any results
We had left in a rush and were running late but all agreed that it was a false economy to keep going without any breakfast, so happily for me we pulled over in Zandspruit. I had been warned off stopping here, allegedly due to the history of aggression from the residents and the strong history of protest associated with this location, but the welcome that I received, as ever, was completely the opposite to any that I might have been led to believe. We drank strong sweet tea and ate doughnuts with mango pickle and avocado. It was a solid working breakfast and we drove off needing to work
Zandspruit
Breakfast at Zandspruit
Prints on the wall
When we got to Hallmark Towers, the prints had just arrived from the framer. As I worked with MJ and Neil to hang the beautifully framed images, Manthe and Mada went through the first stages of 'Bassline' inside the metal framework, yet to be filled with a tonne of red soil from the site in the Cradle of Humankind where we have been practising up until now. As we made the final decisions on the sequencing of the works on paper I went over to watch them working through the final sequence for the performance. In the days since we had last met, we had been in close conversation about how we might evolve the last moments of 'Baseline' so that they embody movement that will – in conjunction with the constant binary on-off of the stroboscopic light that will be sole illumination for the work – have a digital quality. They quickly went through a sequence of material where they stood side by side breathing for a few moments, then followed a series of swift movements with their hands and arms that described a geometry of points and lines in, and out into space after which Manthe slumped to the ground. After another moments pause Mada left the space walking away through what would be the audience, followed by Manthe lifting herself off of the ground and exiting from the performance space in the opposite direction. It was complete
Ideas in the space
Fitting the body covers
Marking the senses
Mada and Manthe then worked through the piece from the top to the bottom, inhabiting the dimensions of the space. Pieter arrived with his colleague and we went through the final fittings of the tailored body covers. The geometric grid pattern looked extraordinary as it expanded and contracted over the contours of their bodies. Pieter marked the openings for the eyes, nostrils and mouth on each of the head covers to take away then deliver back in time for the opening performance. We then worked together to fill the five by five metre steel framework with soil, slowly sieving through to remove thorns and roots and break down any of the large clumps of earth still bound together with moisture. After raking the earth flat it had an incredible quality, expressing light and colour at the same time as it absorbed it. The transferral of this primary material from its original location to this new urban context seems to accentuate its inherent qualities. Finally the strobe light is fitted, centred above the square of earth
Mada, Mat & Manthe
'Altered States' exhibition installation view at Hallmark Towers
Trent and his team arrived with their truck equipped with a crane capable of lifting five tonnes at ten in the morning just as it beginning to get hot, to sling and lift the finished sculpture from its home of three months. The slinging is a complex procedure and I am grateful for Trent's experience and diligence. The weight distribution in the boulder is hard to judge and I feel an immense sense of relief when the five tonne block parts company from the bearers that have been supporting it and lifts up into the air
After the sculpture was safely strapped to the bed of the truck, we drove into Johannesburg to the exhibition venue at Hallmark Towers. Johannesburg is one of the most wooded cities in the world, and as we drive over the ridge and look out to the south, the city rises shimmering in a late summer haze from its astonishing green foundations like a Ballard-ian construct
Joze
Self portrait with Johannesburg railway and the Mandela bridge
Hallmark Towers
Unloading in Siemert St
Rigging the stone into the space
At Hallmark Towers the slow process of getting the work into the space started by unloading the sculpture onto the street. At that point a fifty metre traverse of an alleyway using two two-tonne pallet trucks, brought the work to the foot of the ramp leading up to the exhibition space. From there, Trent's team used a complex sequence of rigging with ratchet straps and slings and deft control of the boom of the crane to navigate the incline. On the other side of the exhibition space, Allen Laing and I had been working to assemble the steel framework for 'Human Nature' and drill and fix the steel perimeter framework for the performance space to the floor. Four hours later, the massive stone sat poised at the threshold of the room
The floor at Hallmark Towers is only rated to carry a three-hundred and fifty kilogram point load, so after negotiations with the engineers overseeing the space some days earlier, a web of scaffolding had been established in the shop underneath the area that the boulder had to pass over to get to its location. The pallet trucks were employed to roll the sculpture across the floor and after hours of jacking, levering and wedging, 'Changing My Mind' was in its place
Even though it was poorly lit by the orange glow of the sodium street lamps filtering in from beyond the overpass and through the traffic-grimed windows, in the early hours of the morning the work hummed as it seemed to levitate off the floor. When I was making the work at NIROX, it had been supported on two massive timber bearers that kept it a fair distance off of the ground. Here, the work sat on three small points of connection directly onto the floor tiles marked with years of use, and for the first time I saw the way the boulder was loaded so that a large section of the block looked like it was defying gravity. The amount of space underneath the sculpture coupled with the whole form seemingly impossibly balanced on three points, resulted in conveying a powerful sense of density to the sculpture
On the the hour drive back to NIROX with Allen we stopped, exhausted, at a late-night takeaway. Eating our meals off of the bonnet of his pick-up, we were questioned and then frisked by police doing their rounds of the suburbs. I produced one of the small adjusted stone components from 'Human Nature' by way of explanation of what we had been engaged in. The cops looked intrigued, passed the object between them turning it over and over in their hands, then passed it back, got in their car and drove off
Cast wings
Clearwing with point markings
Just before John and I finished polishing the last of the two hundred-plus concave forms in the surface of the two planes, the sun dipped below the horizon. As we finally circled the boulder looking at the finished object, the space was filled with a barely audible whirring sound as hundreds and hundreds of small insects spun around the white room. Every surface was covered with a field of arched tremulous bodies, wings vibrating incessantly. It carried on like that all night as I sat looking at the stone. In the morning they were all gone. Piles of wings were strewn over the floor and any flat surface – of the insects themselves, there was no sign
Full moon in Bramfontein, Johannesburg
The past days have been chaotic as my performance collaborators Kieron Jina and Joni Barnard have had to pull out of the performance due to the constraints of their teaching and performing schedule limiting the moment of time that they can dedicate to our collaboration. With the help of curator Beather MGoza Baker I have been involved in the search for two new performers who might be interested in participating in the work. Beathur arranged a meeting with two Johannesburg-based dancers, Mada Sthembiso and Manthe Ribane. We met in Bramfontein and had lunch whilst a ferocious storm ravaged Johannesburg. Water gushed out of downpipes and the streets were flooded with rhythmically pulsating, fast flowing sheets of deep water. Mada and Manthe get the idea immediately and we were soon talking about how and when we would meet to evolve the piece
Two days later Manthe and Mada come out to NIROX and we walk out to the practice area in the bush. The red earth is cooking by the time we get there but we mark out the perimeter of the square and progress swiftly. The core form of the performance is in place as a result of the intensive sessions already completed with Kieron and Joni. Mada and Manthe quickly become accustomed to the flow of the grid drawing, then they start to improvise. Mada proposes a leg extension and repositioning of one foot behind the other that gives the drawing of the grid a new cadence and complexity without over-complicating it. For me it is an extraordinary experience working with people whose bodies are their medium. To be able to provide a verbal description of a complex sequence of movements and see them almost immediately enacted is somehow miraculous. I can't help but see a relationship between the language of static sculptural form and that of the body in terms of how each body has distinctive material properties and potentialities that are unique to it and as a consequence imbue the overall work with a particular feel
Mada Sthembiso and Manthe Ribane
Working through the grid
Addressing the grid
Respite
After Mada and Manthe had the line and point drawings down, we focused on the transition into a reference to contemporary trance dance culture. The line and point articulation has been conceived so that the postures held at each breath have a correspondence to my subjective interpretation of traditional trance dance culture as it was and still is practised in southern Africa. Working with Kieron and Joni previously, we had talked at length about the global phenomenon of contemporary trance dance culture typified by large gatherings of people who dance for days on end, typically at outdoor venues. Now working with Mada and Manthe, I have realised very quickly that the concept of trance dance that I am familiar with and that I had been discussing with Kieron and Joni is more typically a white, Western phenomenon. Maybe one of the main differences between this and the discussion that I am now having with Mada and Manthe is that the Western trance dance experience is often, though not exclusively, augmented by the use of psychotropic substances. Typically, African trance dance is less reliant on the use of stimulants to achieve trance states. That's not to say that it doesn't happen, but that it is just less central
Manthe has worked in collaboration with experimental South African outfits like Mafikizolo, Toya Delezy, Spoek Mathambo, OKMALUMEKOOLKAT and Die Antwoord, to name a few. Touring as a dancer with Die Antwoord – internationally recognised for their aggressive rave hip-hop style – has exposed Manthe to the Western dance scene and puts her in a good place to evolve the movement I seek
Mada talked about his memory of being a child growing up in Soweto where impromptu dance battles would start up in the street and spread like wildfire. He remembers dancing on the zinc sheet rooftops of the houses – jumping from rooftop to rooftop as the party of dance-offs and jams moved around the township until the early hours of the morning. Dancing is so central to African culture and identity. When South Africa is entered into a Google search the first art form to surface is dance – particularly street dance. Mada is part of a collective called Shakers And Movers, who have received international acclaim for their high energy blend of moves, humour and social commentary. The music driving their performances is a fusion of Kwaito, hip-hop and R&B focused through the lens of Pantsula – a form of dance that has been around since the 1950s and can be seen as an expression of resistance during the political struggle against the Apartheid government, as well as being used to spread awareness about social issues, and is still evolving thanks to the drive of artists like Mada
Pantsula is typified by quick, darting steps in geometric lines with an uneven rhythmic quality. The knock-kneed Charleston associated with American jazz, as well as popping and locking found in American hip-hop are key influences. Pantsula is a Zulu word and translates as 'waddling like a duck'. This flat-footed move with buttocks sticking out behind the body is commonplace in the dance form. The similarity between these movements and the San rock art images that I was shown at the Origins Centre by David Lewis-Williams is striking
As Manthe and Mada talk through ideas, testing out movements in the heat of the sun, I sit quietly at the edge of the drawn grid and watch, captivated by their process, interjecting as little as possible so as not to interrupt their flow. At one point the energy shifted and a flurry of moves started to link up. Manthe dropped backwards to be caught by Mada with one hand placed where her neck meets her body. Her body was almost horizontal to the ground with knees bent at ninety degrees and the movement forms a striking analogy with the state of complete trance. Mada calmly lifted her up into an upright posture and after a moment of pause the two of them recombine into an complex sequence of footwork that raised a cloud of red earth that hung in the air for a time before being whisked away by a gentle pulse of air rolling down the valley
We take a break in the limited shade of a stinkwood tree and talk about the work. We are all feeling quite ecstatic and quickly Manthe and Mada recover their energy and run through the sequence from top down. The whole routine takes about seven minutes from start to finish. They run through three times and we return to NIROX tired, focused and quietly content with a very successful day's work
Pieter Burger at atelier WAKE, Bramfontein, Johannesburg
After some lengthy research I have made contact with a designer who is interested in collaborating with me to make the costumes for the performance. In my work 'Root', made in Athens in 2013, the male and female performers were entirely naked, now in South Africa this approach doesn't seem relevant. It makes sense to me that the specific identity of the performers is more ambiguous. In the trance state the body is in a sense left behind, as all attention is focused on the internal experience. I have a feeling that skin tight body covers that extend from head to foot are the way to proceed
The day after the session in the bush with Mada and Manthe, I drive into Johannesburg to visit Pieter Burger to discuss how we might get the body covers made. Pieter (and his label WAKE) was the 2014 SA Fashion Week Renault New Talent Search winner and it is very clear that we share similar conceptual and aesthetic interests. We meet in a coffee shop in Bramfontein and Pieter hands over six metres of thick white, natural looking stretch fabric. I return to NIROX and use the technique of cross-hatch spray paint application to transform the fabric into a complex geometric patterned bolt. The next day I drive back into Johannesburg and drop the fabric with Pieter at his atelier in Bramfontein where we meet with Mada and Manthe to take measurements for the cutting and fabrication of the garments
Today found us all back in the bush for the first fitting. As Manthe walked out wearing the roughly constructed body cover I realised immediately that the pattern wasn't going to work. It needed to be sharper. On his laptop Pieter showed me samples of other readymade fabrics that might be more appropriate and one immediately stands out from the rest. It is a traditional, tightly woven, herringbone-like pattern of tessellating black and white
For more than a month I have been walking out into the bush every day to get myself into a state of trance. In the late afternoon as the sun's rays are starting to lose their intensity, I have been going to a spot under the spreading canopy of the same tree where I have been attempting to use controlled breathing and movement to alter my state of consciousness. I have made considerable progress, so much so that I realised that I was potentially putting myself into a dangerous situation. If I did go deep into a trance state or become unconscious, then I could fall prey to the six-metre African rock python that has been seen from time to time just over the ridge from where I was conducting my experiments, or the hyena and jackal that I have seen on many occasions in the vicinity
My motivation for inducing this state of trance is to personally experience the entoptic phenomena around which my work at NIROX is revolving. I want to make some intervention on the planes of the dolomitic boulder that I have been working for the past months with marks that are driven by this experience, which will operate as an allusion to the early human trance dance tradition that has probably resulted in the early human marks that we know of. The two planes that are now cut, resplendent in their mirror polished brilliance, into the form of the rough boulder, have an exactness and artificiality that operates as a reference to the contemporary moment of digital manipulation of, and intervention in, the material reality of the world. I want to find a way of generating marks that pierce the surface of the flat planes creating a third point in this dialogue with materiality that is going on in the stone, that is located at the birth of modern consciousness
I decided that I would attempt to articulate a network of points as accurately as I could with my eyes closed. Everything else about this work has been so exacting – the calculation of the angle of the faces in relation to the pre-existing naturally eroded form of the stone, and the precision ground surface that has resulted. I know that it would be impossible to carve in a trance state, but carving with my eyes closed seems a conceptually legitimate approach in the sense that it is resorting to a different quality of sensing. A sensing, not of measuring, but of intuition and instinct rooted in the sensation of the body
In the afternoon just after the rain has passed, I attempt to make a grid of points as accurately as I can using a hammer and punch with my eyes closed. I am surprised when I find that I can actually swing the hammer and strike the punch with my eyes closed but I suppose that I have been carving for long enough now that it is body memory. I attempt to make each strike with a similar force. The desire to open my eyes part way through is almost unbearable. It is a driven by a profound need to gather more information to complete this task but I managed to resist the temptation
When I opened my eyes I saw a band of marks arcing across a portion of the surface of one face. The grid that I intended is barely discernible but the physical presence of my body is. Each mark has a different effect on the stone – some blows have made the most minimal indentation in the obdurate material, others have flaked off small areas of stone and penetrated a few millimetres into the surface. What is very apparent is the way the array of marks bear the memory of the movement of my arm and hand in a visible series of nested curves
The next day I continued to work the marks in proportion to their impact on the surface of the stone. The stronger the impact, the deeper and wider the depression I open out. I attempted to retain the form of the each impact so that the concavity that resulted embodied the direction and energy of the blow. As the marks got wider and deeper, some started to join up with each other and the constellation of points started to take on a feeling of being a cloud of information
I have been looking at the block for a long time and feel like I know the stone well. I have examined every fraction of its surface in a desire to understand how it was formed and what stories the process of erosion reveals. I began to feel quite keyed up about the new tension that these marks bring to the dialogue in the stone. Now they are opened up, they almost feel like the pressure marks created by someone pushing their fingertips repeatedly into a thickly viscous surface. I have decided that it feels right to file the insides of the concavities smooth and polish them to the same finish as the flat planes
I lay up a sheet of paper on the newly punched surface and make a graphite rubbing of the array of marks. I flip the paper, trace the marks on the other side and use the sheet as a template to transpose the marks from one plane to another. The point where the two planes intersect becomes an axis of symmetry. I repeat the process on the second face. Over the next days I will work with John Nkhoma to polish each form to a mirror finish
Rubbing the first face
Punching the second face with template
I've worked up a graphic for the invitation for the exhibition. We have now fixed on the dates so that the solo exhibition of all of the works made during my residency at NIROX coincides with the launch of Hallmark Towers – the space I first saw with Mary-Jane Darroll some weeks back. The building is being developed by world renowned architect David Adjaye and my show, titled 'Altered States', will be the first cultural event in the re-imagining of this iconic piece of architecture
MAT CHIVERS : ALTERED STATES
Yesterday I went into Artist Proof Studio, probably for the last time during this session in South Africa, to check over and sign the edition of prints before they go off to the framer. Master printer at APS, Sara-Aimee Verity, has done an extraordinary job of edition-ing the twenty seven images
There are five groups of works on paper. Six monotypes were made by drawing directly into jet black printing ink on perspex plates, which were then printed onto paper while wet, during an intensive day at APS a couple of weeks ago. Around the same time I spent a long day in the studio out at NIROX making a series of ten drawings with a burin into hard ground medium on copper plates. From this group I have selected one plate which was then printed ten times on the same sheet, turned each time in random combination. This process has yielded a series of six unique prints, each the product of ten overlain prints, that demonstrate a subtle shift across the series. The images seem to vibrate with the complex overlay of their cross hatch of lines, creating a shimmering effect that is disorientating to look at
The third and fourth groups of prints have derived from the spray paint drawings that I made back in the first month of my residency. There are five white on black ground and five black on white ground images. High resolution images were made from the large drawings from which positive transparencies were generated in order to allow a darkroom etch into copper plate using a photo-polymer etching process. The reduction in scale from the size of the original drawings has resulted in the loss of some information from the original and the integration of new material into the images as artefacts of the process
The final group of works on paper are the five sheets made with Nathi at Phumani Paper Mill Archive using the material gathered from Plovers Lake cave. It is extremely exciting for me to see these works as they were the ones that I believed had the greatest chance of failing. I simply didn't know how the materials would shift as they settled down and dried out, as this was not a process that I had any previous experience working with. My main concern was whether there would be a dying down of the vibrancy of the raw materials – in fact the opposite was true
All of the works on paper are united by a common thread. The hand drawn grids of lines are all tuned to the size of the image and there is a gradual shift in the angle of incidence through each series. All of the works have a distilled quality due to their size. Each image is fifteen by ten centimetres on a uniform sheet size of thirty-seven by twenty-nine centimetres and this focused surface gives the prints the intensity that I was hoping for. I wanted them to create a sense of dislocation in the viewer – where the eye tries to focus on a surface or a plane but is not allowed to do so. The images read like small images of big things or maybe big images of small things. I like this sense of ambiguity and the inherently un-quantifiable nature of the source
Signing the prints
Leaving APS, I felt a sense of relief that the energy I have invested into these works on paper has resulted in something that feels interesting. I found it hard to pull myself away. It was hard to stop looking, which is usually a good sign. As I waited for my cab to turn up to take me across town I sat in the hot sun on the side of the road and watched the kids pour out of the dance school across the way. They were fizzing with energy and dressed in the most experimental way I have seen yet in Johannesburg. Young adults filtering the influence of western media influence through the lens of a powerful connection to their African culture. It's a good sight
My cab turned up, I dropped into the seat and we pulled away. As we entered the stream of traffic running around the periphery of the city everything ground to a halt. We were mired in the heat in a traffic jam that could have gone on for ever. We wound the windows down and started to chat. Solly is a student at the business school at University of Johannesburg and he drives for Uber part time to pay his fees and get money to visit his girlfriend who is at university near Botswana. He asks me what I do and I explained a bit and then he asked me if I had been to Soweto yet. I replied that I hadn't but would like to and Solly suggested that we went then. The off ramp to get there was close so I jumped at the chance
Some time later we were parked up and walking toward the lower end of Vilakazi Street. We had barely set foot on the street when a man jumped out of a doorway and introduced himself. He asked Solly if he was a tour guide to which he replied that he was a cab driver and had offered to show me Soweto as he and his family had always lived there. The man asked if he might interview us for a program that he was making for DSTV about what people love about Soweto. A camera and sound crew erupted out of an unmarked van that we had not seen until then and before we knew it we were being recorded. For my part when asked the question, I replied that I had literally just arrived and so wasn't really in a position to comment but the way I had ended up there was typical of my experience of South Africa so far. The hospitality and desire to share their perspective of their country was something that I had consistently received from South Africans during my stay
What struck me immediately was how relaxed Soweto felt, despite the horrific history of state brutality and oppression that seems so recent, the single storey bungalows and tree lined streets give the area a laid back feeling that was a refreshing change in comparison to my experience of the hectic pace of downtown Johannesburg. It was getting late so I suggested to Solly that we should go and eat somewhere and asked him where he would normally go. He said that he would usually eat at a local hostel – a roadside place between Soweto and Orlando and said he would be happy to take me there. This was more like it – at last I felt that I was getting a real taste of how the locals eat. We had what is probably one of the best meals of my life. A curious crowd of locals dropping in for a beer after work joined our table as the sun began to set. We ate a plate piled high with slivers of meat from the boiled head of a cow sprinkled liberally with salt. Pap (maize polenta) and a hot chackaalacka salad of tomatoes, raw onion and chilli gave this an edge. Then we ate probably the biggest and best steak I have ever had, seasoned and cooked over the coals of a fire that burns day-in-day-out. I was, according to the man behind the counter, the only white person to have eaten in the place for a very long time
It's Good, It's Nice
Soweto street scene
Boiling cows' heads
At the hostel
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text:
Flaga Zielonej Góry – jeden z symboli miejskich Zielonej Góry.

Symbolika
Opis flagi miasta w załączniku nr 3 do Uchwały nr XXIX/267/04 Rady Miasta Zielona Góra z dnia 31 sierpnia 2004 roku Statut Miasta Zielona Góra:

Zobacz też
 Herb Zielonej Góry

Przypisy

Zielona Góra
Zielona Góra

redpajama_set_name: RedPajamaWikipedia


text:
Q: Vue getting current dom element in style I want to add a transform effect on only the hovered video or image. This effect is computed and can't be in a vue method but I can maybe change the target element for the useMouseInElement(). The WorkThumbnail.vue component is in a v-for loop and loads multiple videos/images.
How I can access in the :style the current DOM Element? $event is not the solution
WorkThumbnail.vue
<template>
<div
    v-if="work.video === false"
    class="work_thumbnail"
    :style="{
    backgroundImage: 'url(' + require(`@/assets/img/works/${work.thumbnail}.jpg`) + ')',
    transition: 'transform 0.25s ease-out', transform: [currentWork === selectWork($event) ? { cardTransform } :  '']}"
    @mouseover="selectWork($event)"
    >

{{work.name}}

{{work.name}}

    <video :poster="require(`@/assets/img/works/${work.vidPreview}.jpg`)" autoplay loop>
        <source
            :src="require(`@/assets/img/works/${work.thumbnail}.mp4`)"
            type="video/mp4">
    </video>

</template>

Parent Component (Explore.vue)
<template>

^

            <WorkThumbnail v-for="(work, index) in works" :key="work" :work="work" :index="index"/>

</template>

A: Looking at the docs for useMouseInElement, it seems you can pass the DOM element using Vue $ref attribute on your div, and just use the built-in isOutside property:

Note the use of ref() in your setup loop to make the properties reactive:
setup() {
  const target = ref(null)
  const {
    elementX,
    elementY,
    elementHeight,
    elementWidth,
    isOutside
  } = useMouseInElement(target)

  return {
    cardTransform,
    elementX,
    elementY,
    elementHeight,
    elementWidth,
    isOutside
  }
}

which you'll need to add to the import from Vue for the setup:
import { computed, ref } from 'vue'
import { useMouseInElement } from '@vueuse/core'

redpajama_set_name: RedPajamaStackExchange


BT is offering free work placements next month to help young people in the Chesterfield, Mansfield and Worksop areas get 'work ready' and prepared for their future careers.
The three week course, combining hands-on work experience with coaching and training is open to anyone aged 16 to 24 not currently in education, employment or training.
The next course starts on February 19, 2018 and will be held at the BT offices in Barlborough, within 15 miles of Mansfield, Worksop and Chesterfield. For more details or to apply visit www.bt.com/workready.
The first week of the course is mainly office based and focuses on building and developing practical work skills. This is followed by a week 'on the job', shadowing employees and getting hands on experience of the working day. In Barlborough, this will be an opportunity to work alongside engineers from Openreach, the local network business, which is part of BT Group, as they build and maintain millions of miles of fibre and copper cables that connect every home and business in the UK to local telephone exchanges.
The final days of the work placement is spent doing mock interviews and a day assessment as well as developing an individual plan of the next steps to find employment or return to education.
Owen Moody, chair of BT's East Midlands regional board, said: "BT work placements give local, young people the opportunity to experience the working day and gain invaluable insight of what is expected in the workplace.


This recipe for Gin Fizz, by Landon Kelley, is from The Truco Family Cookbook, one of the cookbooks created at FamilyCookbookProject.com. We help families or individuals create heirloom cookbook treasures.
Rx: Combine all ingredients in glass. Martini: Combine all ingredients, except sprite, in shaker with ice. Shake. Strain into martini glass. Top with Sprite.


> I am one of the developers of the "LDAP Account Manager".
> Our program provides a GUI to manage Samba accounts.
> expression for syntax checking.
one hour of a week. It is then stored as 21 hex characters (21*8 = 168).
adjust corresponding to the offset of the timezone.
to 1:59, this in GMT time.


This article is about banjo design and focuses on the way that the neck of the banjo connects to the banjo rim. Most banjos that I've seen have a neck heel that fits to the shape of the outside of the rim. Then, the neck is fastened onto the rim using a dowel stick, a neck brace, and an endpin.


The display area of the museum begins with the Shark Room on the second floor of Palazzo Grassi.Visitors set out on their journey at the discovery of the sea and its inhabitants by meeting one of the largest fish in the world, basking shark. The specimen on display is an 8-m female that was captured by mistake in 2003 off the coast of Chioggia. The fish was taxidermy mounted to preserve its true dimension and original skin. No matter how hard it is to believe that such a large animal risks extinction, the species is in fact on the IUCN (International Union for the Conservation of Nature) Red List of Threatened Species, and is protected by several international agreements which ban its fishing, sale and consumption.Using the basking shark as an example, exhibits in this room show the different sea environments and examine the factors jeopardising biodiversity, thus emphasising the vulnerability and exploitation of marine resources and the need for responsible management.


Cruise the side streets in style with this Euro-style electric scooter from Razor. Featuring a high-performance, chain-driven electric motor and a vintage-inspired body, the Pocket Mod can reach speeds of up to 15 miles per hour–plenty fast enough for a quick trip to the corner store or a fun ride in the country. The scooter also teams a pair of 12-inch pneumatic tires with a rear suspension system to ensure a comfortable ride. Other features include a retractable kickstand, variable-speed acceleration, a padded seat, and a built-in battery that travels for up to 10 miles on a single charge.
Founded in June 2000, Razor USA, LLC is a privately held company based in Cerritos, California and holds the worldwide rights to the Razor® brand. Home of the wildly popular Razor kick scooter, Razor has other scooters like the E100, E200, and E300–all electric scooters. The cutting-edge line of Razor products also includes the Dirt Rocket, Pocket Mod, Pocket Rocket, Ground Force, a line of electric powered ride-on toys, and a junior line of scooters. Razor also offers an action video–RVM–featuring Team Razor (pro scooter athletes ages 9 to 20, who tour the world participating in demonstrations and competitions). Razor has numerous awards including Toy Industry Association's "Toy of the Year" and "Toy of the Year" honors from TIME, Parents, Parenting, Sports Illustrated for Kids, Nick Jr., and U.S. News & World Report.
This is my second one the first one lasted 10 years and I only had to change the battery's a few times. I ride to the beach and back each day about a mile and a half and love it. I am 75 years old and look funny on it but at my age I could care less and it is a fantastic product at an amazing price. It was delivered to my door and easy to put on the front wheel and insert the handle. If I could say anything more about it and your service they have not invented any words to describe how pleased I really am.
I bought this item after it had been returned to Amazon by someone, so naturally I was curious about why it had been returned. I think I've figured it out: Unlike the no-brainer installation of the steering bars on the Razor MX350 Dirt Rocket Electric Motocross Bike that I bought a couple of weeks ago, the installation of the steering bars on this little scooter is a bit tricky. But don't give up!! It's the cutest little scooter once assembled, and the assembly takes less than 30 minutes.
Please note the following: the black plastic casing at the bottom on the steering pole should be removed before inserting the pole; the purported red line indicating the "Safe Zone" on the pole may be nonexistent, so just look for the "Safe Zone" etching on the pole; the pole goes down pretty far into the front of the scooter rather than sitting up somewhat high like regular handlebars; and you may have trouble, as I did, fitting the steering pole down into the receptor pole located inside the front "tower" of the scooter. IF YOU DO HAVE TROUBLE INSERTING THE STEERING POLE FAR ENOUGH DOWN INTO THE INTERIOR RECEPTOR POLE, I.E. IT APPEARS TO BE HANGING UP ON THE RECEPTOR POLE, simply unscrew the screws holding the white panel in place on the front steering "tower," gently pull the white panel toward you a little bit, peer into the inside of the tower so you can see how to lower the steering pole into the receptor pole, and then reinsert the screws after you've inserted the steering pole properly. This may sound difficult, but it's not. I'm a 63-yr.-old grandmother, and if I could do it you can too!
Bought this for my 7 year olds birthday! She was ecstatic! Just as cute in real life as in the picture. She has gotten many great hours of entertainment out of this. The battery life is pretty good and goes just fast enough where she isn't giving me a heart attack when she rides around the neighborhood.
This thing is amazing. It goes so much faster than I thought it would!!! Took it to a big flat parking lot and my kiddo, who's 70 lbs, rode for just shy of an hour, and never lost power! He even gave his little sister, 40 lbs, a couple rides!!! We also took it in our backyard which has a large, steep hill… Went right up!!! LOVE THIS!!! I WILL BE PURCHASING MORE!!!
I purchased this Razor two years ago and we still have it. It runs great, holds a great charge and my 12 and 14 year old still ride it. Both are tall for their age but have no issues fitting on it. Very easy to ride and goes pretty fast. My girls ride it on concrete and through our pasture.
This is a great product!!! I purchased 2 for my daughters at Christmas. One is a Sweet Pea addition.Very little assembly required.
ASSEMBLY: Handle bars & front tire is all me and my hubby assembled. However, it took us 45 minutes with reading the instructions & calling customer service to get those handle bars on. VERY TRICKY!!!
CHARGE & RIDE: We charged the batteties for 12 hours as the instructions stated. The girls road them in the grass and the battery died after an hour of riding. Will do an update on here for riding time when we put them on concrete.
SIZE & WEIGHT: I am 5'4 130lbs and road this scooter with my 8 year old on it with me. So I would safely say the mod pads can surely handle up to 185lbs with no problem Needless to say, my kids are ecstatic and try to ride them every chance they get!!! I plan on buying a 3rd one for my niece if these 2 last til next Christmas without problems.
There is an obvious issue with the batteries. Not sure if they get old from sitting in the scooters waiting to be shipped or what, but you will likely need to call customer service to order a replacement battery under warranty.
The customer service was good and the replacement battery works great. Our daughter loves this scooter and it's pretty fast.
So, knocked off a star for the hassle and disappointment when we first got the scooter and it didn't work well, but overall happy now.


You purchased an article of clothing from a shop. When you got home, you realized it had a problem. Write a letter to the shop manager to complain.
I am writing to bring to your attention a problem I have had with a shirt I bought from your shop. Let me explain.
Yesterday, I purchased a cotton shirt from your outlet in New Mumbai. After getting home, I realized that it was very badly stitched. In fact, the sewing along the sides of the shirt has already started unraveling. What's more, upon closer examination of the shirt I also noticed faint lines along the length of the fabric.
This is not the first time I have purchased clothes from your outlet but this is the first time I have experienced a problem. Of course, I do understand that problems of this kind can happen from time to time. I, too, should have been a bit more careful while choosing the item. Right now, what I am hoping is that you will take measures to replace this faulty shirt with a good one. I can show you the receipt if it is necessary.
Next story Verbs complementation: what can follow a verb?


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Home Style Treble Manchester United Limited Edition
Treble Manchester United Limited Edition
Commemorate the 20th anniversary of the 1999 Treble
Historic Moments. Captured Forever.
The new Treble style from Maui Jim commemorates Manchester United's remarkable 1988-1999 season that finished with the club winning the treble of trophies, a feat that until then had never been done by an English football club. The club had finished the previous season without any titles but overcame many obstacles by elevating play to stun fans and opponents to win the Premier League, and FA Cup trophies. This amazing run was capped off by what is considered by many as one of the greatest comebacks of all time by erasing a 1-0 deficit with late goals to claim a dramatic victory in the UEFA Champions League Final.
Classically Styled Custom Italian Acetate Frame
These historic moments are forever captured in a limited edition frame which encapsulates the most celebrated moments and images from the club in a classically styled frame made of premium, custom Italian acetate. The festive interior collage showcases pictures, tickets and icons from the games, while the gold tone Manchester United crest on the right temple adds to the uniqueness of the frame. This limited edition frame comes beautifully packaged in a collector's box to further highlight those unforgettable moments.
As the Official Vision Partner of Manchester United, Maui Jim is excited to offer this limited edition frame for Manchester United fans or collectors. Show your Manchester United pride!
> Shop Treble
Product Spotlight: Pele's Hair
Product Spotlight: Jasmine


Long known to have restorative effects, Northern California hot springs draw people from all over the area for medicinal and relaxation purposes. Early in the state's history, the springs became resorts for the wealthy. Today, the benefits of hot springs attract those looking for a more holistic and natural method of health care.
Livestrong.com, one of the most recognized online sources for medical information, explains the Benefits of Hot Spring Spas by citing factors such as improved circulation and stress relief. Combining the health benefits of a dip in the springs with the comfort of a quality resort, and guests leave feeling invigorated and healthy. From rustic to modern in appearance, guests find comfort in the style of setting they prefer.
Not to be confused with hot tubs, a natural hot spring occurs when mineral-rich water bubbles to the surface after being geothermally heated to a temperature of 98 degrees or more. Mineral content of the water varies from spring to spring. Soaking in the springs helps relieve pain and allow the body to absorb minerals that have a calming and therapeutic effect.
Each spa listed here invites guests to experience its hot spring in a setting designed specifically for them. To say one lays claim to being the best only limits the view of this diverse industry. Online booking makes arranging a visit easy for any visitor.
Summary: Located in Napa Valley Wine Country, this resort has special spa and room packages starting at $135 per person per night. Private hot spring treatments are available in some rooms. Outdoor activities include swimming and biking with a picnic area and bocce courts.
Focusing on the hot spring experience for adults, Golden Haven offers three types of lodging and a customized menu of spa treatments. Standard, Superior and Hot Spring Jacuzzi rooms include complimentary WiFi, refrigerator, bottled water, and HBO TV. Themed more for specialty groups and couples, a hot spring pool, bocce court, and picnic area extend the experience outdoors while biking can be arranged. Spa treatments run the gamut of massage and herbal facials to mineral-rich mud baths. Spa packages start at $135 per person per night. The resort specializes in girlfriend weekends, singles getaways and last minute bookings.
Summary: Located in a historically significant part of Northern California, the 27-acre resort property border natural reserve land for a forested setting. The 80-year-old lodge and cabins have been updated but other types of accommodations such as Yurts and campsites provide a clothing-optional place for nature lovers to experience its hot springs and surroundings. Costs vary by lodging type.
A rural escape with few of the comforts of home (no WiFi, cell service, or TV), Orr Hot Springs welcomes guests who are looking for a no-frills, clothing-optional choice for a natural retreat. Not recommended for children or pets, several lodging options give guests a choice when booking a stay. Communal bathhouse and walk-in camping balance the cozy rooms of the redwood lodge. Each option is listed on the website and includes a description and photos. Along with the springs, the grounds remain as they have been for decades. No food or drink is available, but guests have cooking privileges in the large communal kitchen. Cottage rooms have small private kitchens Adjacent to the Montgomery State Reserve, guests hike and participate in quiet activities. Frequently sold out even for day trips, reservations are recommended.
Summary: This seasonal Sierra Nevada mountain location has stone cabins and casual dining for the traveler looking for a modestly priced hot springs experience. Nearby lakes provide boating and fishing recreation. Lodging varies from tent camping with outdoor cooking to cozy rooms with full kitchens and fireplaces. Small bathhouse with hot tub spa and massage give access to the springs. Costs vary by lodging option.
A rustic and secluded location, this colonial-California style resort welcomes families and pets into a place that reminds guests of the past. Open only between May 15 and November 1 each year, the resort has its own general store and post office. An on-site restaurant serves American cuisine in a casual dining experience. Outdoor activities such as hiking and fishing keep the active guest busy while the less active traveler takes advantage of the spa and massage treatments. One and two-bedroom historic cabins include comfortable furnishings and fireplaces. Kitchens are available with gas stoves. Chosen by the guest who desires a sheltered, but outdoorsy experience, tent cabins provide a canvas room enclosure with cooking and picnic areas. A Community bathhouse supplies showers, flush toilets, and running water. Costs vary by experience.
Summary: More hostel than hotel, this dormitory style resort finds its charm in the remote location and vintage experience. Located on an 1800-acre natural preserve, the facility dates back to 1865. Solar-powered and off-grid, guests have access to a natural hot spring and geyser. Massage, yoga, and meditation sessions allow both day and overnight guests to experience hours of relaxation. Costs vary by service.
Located within an 1800-acre nature preserve in Northern California. A clothing-optional resort welcomes day-trippers and overnight guests. Lodging varies from camping and dorms to cabins with kitchenettes. The springs are accessible through a Japanese-style bathhouse and sauna. Travelers participate in self-guided activities such as hiking and biking while yoga and meditation classes occur seasonally for the group. Guests typically prepare their own food but a guest Chef shows off his/her culinary skills on weekends. Served to guests, these catered meals embody health foods that appeal to the taste buds. A minimum two-night stay is required. Costs vary by date and lodging type. Massage and spa treatments are extra.
Summary: Rustic locations takes the guest back to 1879 when the lodge and resort first opened. With only 5 rooms and small dormitory, guests enjoy seclusion while on a 700-acre tract of land along the edge of Tahoe National Forests. Offering more amenities than some locations, those who stay here have access to TV, WiFi and other modern conveniences.
A unique mix of modern convenience and vintage charm, this resort includes the 1870s lodge with 5 individually decorated rooms, a small 5-bed dormitory, and restaurant. Access to a common kitchen gives guests on specific diets the freedom to prepare their own meals. The 700-acre grounds border the Tahoe National Forest. The campus includes the lodge, parking area, and massage room. The springs feed the Indoor and outdoor pools for guest use. Between trips to the pool, massage and spa treatments keep the guest feeling relaxed. Special events and workshops round out the event calendar. Modern conveniences such as TV, WiFi and housekeeping attract the person who wants old-world feel with current access to technology. Costs vary by date and room type. Spa services are extra.
Summary: A not-for-profit resort named after pioneer Matthew Harbin, this wellness and retreat center focuses on healing through the use of its hot springs. Education comes into play through its workshop program Day and overnight guest take advantage of the simple camping style accommodations. Largely destroyed by a wildfire in 2015, the center has just reopened for spiritual and healing experiences.
Presently in a rebuilding phase, this spiritual and healing retreat center experienced a massive wildfire in 2015. Recently reopened, the operation leans toward more simple options than it once provided. One of the oldest of California's hot springs, the retreat sits on 1700 acres of land. The grounds include hot, warm and cold spring-fed pools with views of scenery and wildlife making its return to the area. Just 30 minutes north of San Francisco, fifteen new cottages and tent camping accommodate guests for the first time in three years. Temporary trailers provide food, health services, and event facilities. Day trips cost $25 per person and annual memberships are available. Overnight camping starts at $40 dollars a night. Nightly rates for 2 person cottages run $180+. Activities include scheduled dances and movies for those who wish to socialize and hiking and yoga for those interested in a fitness routine. Food is available on-site. Currently, all services require advance reservations.
Summary: More centrally located than others, this resort experience complements the local shopping and dining scene. Located just of Highway 299, the individually decorated rooms and suites charm the visitor. Indoor whirlpool tubs and spa treatments encourage guests to relax.
A family-owned business, this resort cultivates the private spa image. With an individual hot spring-fed tub with each room, guests have privacy and the soothing experience of a hot spring treatment in the comfort of their own room. Included in each room, a kitchenette provides options for meal preparation or just a way to enjoy a healthy snack. Suites and deluxe rooms have living areas and additional bedrooms. Five dog-friendly rooms suit avid pet owners, but cats are discouraged. Guests can dine off-site at any of several local eateries. Those interested in shopping find many options with a short drive. Children ages 16 and older are permitted, but the location caters more to adults. Because of its convenient location, those who stay can explore activities such as hiking and fishing as well as sightseeing and cultural events while in the area. Skiing is available in season. Rates depend on room type and other added services.
Unlike a swimming pool with chemically treated water and filtration, natural hot springs rely on the ecosystem to clean the water. As such, rules of usage apply to safeguard the natural spring and those who use it. Unless the resort pumps water into an internal network of tubs and pools - and some do - guests should follow these guidelines when visiting one of nature's healthiest water features.
Come Clean - With no pun intended here, polite visitors bathe before soaking in the waters of a hot spring. Soaps, lotions and everyday dirt react poorly with the high temperature and alkaline water. These compounds potentially clog pores and reduce the effectiveness of the experience.
Breakables Banned - Glass bottle or cups present a danger to users. Leave such items behind and enjoy the experience.
Expect a Let-Down - Those who have never traveled to a hot spring before may come with visions of "Old Faithful" geysers and bubbling pools. In a resort setting, this may not be the experience that greets you. Public health standards apply and running off half dressed to soak in a steaming puddle are likely to be more fantasy than reality.
Forget the Food - Save the snack time for afterward. Neither attractive nor sanitary, floating food particles detracts from the experience, to say the least.
Share - Many resorts have policies to keep guests from monopolizing the springs. Keep in mind, though, that the size of the spring determines the number of people who can comfortably participate.
Respect Personal Space - Not all visitors invite others to go toe-to-toe or shoulder-to-shoulder in a setting such as this. Guage the group through facial expressions to remain respectful of other's personal space.
Dress Appropriately - Some resorts listed here do entertain guests in a clothing-optional environment. However, not all of them extend that courtesy to guests. Check the posted dress code before heading to the spa to avoid any wardrobe malfunctions.
Now armed with a list of resorts and a quick checklist of dos and don'ts, the time to book a trip has come. All of the resorts listed here accept online reservations through their own website or companion websites such as bookings.com or tripadvisor.com. Go for it!


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Q: Stange behaviour about ng-content Suppose to have this angular code :
<ng-container *ngFor="let ..."></ng-container>

<ng-container *ngIf="execute()"></ng-container>

I wanto to execute FIRST the *ngFor calculate something and after i want do execute *ngIF. The *ngIf function execute use some values that are calculated from *ngFor.So we need after execute the *ngFor and after I need to exectue *ngIf. The problem is that *nif is called first that *ngFor has begin. Anyone can help me?

A:
Ideally you should handle this case in ts file. However here is the alternative way do so -

<ng-container *ngFor="let ...; let last = last">
        ....
    <ng-container *ngIf="last ? execute() : null"></ng-container> <!-- Execute at last index -->
</ng-container>

A: What you likely want is something like this:
<ng-container *ngFor="let.... ">
  <div *ngIf="execute">
       //your stuff here....
  </div>
</ng-container>


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The flight from Adak to Kiska was approximately 250 miles and took over 2 hours. About an hour into Doc's last mission, a report came in from a weather reconnaissance plane telling everyone that the weather was getting bad. Visibility around Kiska had been reduced to zero.
Already, one B-24 and two B-26 bombers had left the formation due to mechanical problems and had flown back to Adak. The remaining B-26's and P-38 escort fighters also made a decision to turn around and fly back to Adak. Captain Moore, the mission leader for the remaining B-24's suggested that the B-24's continue, since they could still bomb through the clouds.
About an hour later, the B-24's got some terrible news. The weather at their home base of Adak had worsened, and the first B-24 that had returned due to mechanical problems had crashed into two P-38's that were still on the runway when the big bomber landed. There were three crashed aircraft on fire and blocking the runway and the weather was so bad, landing operations were not possible. The remaining B-24's would not be able to land at their home base of Adak. Instead, they would have to fly another two hours up the island chain to Cold Bay or crash land somewhere else if they didn't have enough fuel.
Captain Moore immediately turned his B-24 around and headed back. He flew all the way back to Cold Bay to land. Doc's plane, flown by Lt. Bloomfield and two more planes flown by Lt Hamilton and Lt. Pruett did not get the message and continued on towards Kiska.
Lt. Pruett's plane was separated from the other two bombers, but arrived over Kiska to find the weather too bad to bomb. Not having enough fuel to make to Dutch Harbor and the landing strip at Adak out of commission, Pruett was forced to crash land his plane on the beach on a nearby island. The crew was picked up by a ship later the same day and returned to Adak. Their B-24 lay on the beach where it crashed for the next 50 years. The planes flown by Lt. Bloomfield and Lt. Hamilton were never heard from again. And that was the last my father ever knew about Doc.


See the latest progress on the new features opening this spring!
and interior paintings for Carol Ann's Carousel!
Watch the Fall, 2014 construction update for fun surprises!
Building a World Class Carousel in Smale Riverfront Park!
The Fall, 2013 construction update features progress on the Vine Street complex, the Adventure Playground, and plans for the anchorage below the Roebling Suspension Bridge!
The Late Summer, 2013 construction update features progress on the new Vine Street Fountain & Stairs and the new Heekin/PNC Grow Up Great Adventure Playground.
In the Spring, 2013 construction update, see how the park will double in size with the opening of the newest features!
The Mid-Spring Construction Update: The May 18 Grand Opening of Phase I Features is just days away!
The Spring Construction Update: Get ready for the May 18 Grand Opening of Phase I Features!
The Christian Moerlein Brewing Company commissions a limited edition Rookwood stein to commemorate the opening of the new Moerlein Lager House.
The Mid-Winter Construction Update: Phase I Features Nearing Completion!
Get your first look at the dramatic mural for the Moerlein Lager House Grand Staircase.
The Women's Committee for Cincinnati Riverfront Park: Bringing it Together!
Riverfront Fusion-The FIRST FREE public concert in Cincinnati Riverfront Park! Coming May 26!
The Moerlein Lager House is under construction and the Schmidlapp Event Lawn will open soon! Watch the Late Spring 2011 construction update.
More than a park—we're building a destination! It's the Winter 2010-2011 Construction Update!
We've got PROGRESS! Get the latest on construction progress at Cincinnati Riverfront Park!
Take a good look at Phase I construction progress!
The 2010 Hats Off Luncheon featured the exciting launch of the Twig Project! Watch the video of all the fun at the 2010 Hats Off Luncheon!
Video featuring the story of Cincinnati's Civil War era Black Brigade and the monument being planned in Cincinnati Riverfront Park to commemorate their valiant service.


Here's the post I had about Banglasavvy: The virtual Bangla font installer.
Anti-virus software used to give a security warning, because it was also a Bangla Input Manager (the tiniest Bangla writing software it was, including registering a Bangla font system wide). I thought of announcing that, but since I decided to take a break from the community, I had skipped all of it.
Originally I wrote the app because I wasn't able to browse Bangla sites (and forums that I was contributing back in those days) from Cybercafe (in-case of no-internet at home) and many people had difficulty installing fonts at their office computer (and at cybercafes).
"Valet is a Laravel development environment for Mac minimalists. No Vagrant, No Apache, No Nginx, No /etc/hosts file. You can even share your sites publicly using local tunnels. Yeah, we like it too.
^^^ Reminds me the days of making "Portable Bangla Font aka. Banglasavvy (the virtual font installer)" and "Portable App" back in the ~2006. A little trick to get advantage of systems by using underneath APIs provided by the OS.
For valet, it's the web server included w/ PHP and listening to DnsMasq. For me, installing the font virtually was just using one Windows 32-API.
Interestingly, when I talked about it few people laughs on it- then when I made that possible those people duplicated the method to port more stuffs- and there were a huge impact of using the Bangla apps around the community. Did I receive any "thanks" for that?
Hello people- it's been so long I wrote here on Banglasavvy. In fact, I took it down for years- and got this backed up again couple of weeks ago.
Looks like I'll enjoy writing few notes now and then, as usual, about random topics including things related to Bangla, or different interests.
Thanks for reading the note.
Wish you for the unknown!


Tongue and Groove Kitchen Doors » Kitchens have altered a lot within the last few generations. Technological progress and different lifestyles have induced kitchens to look completely different than they used to. New designs needed to be created to allow for the present day kitchen. Kitchen areas were used only to preparing meals for the family. Nowadays, Tongue And Groove Kitchen Doors kitchen is the perfect space for many of a family's activities.
Architectural Woodwork by Taracea Custom Old World style from Tongue And Groove Kitchen Doors, Bring it with you when shopping for window curtains or other decorating supplies impression got from: trendir.com.
Shop Tongue and Groove Pattern Stock Southern Yellow Pine from Tongue And Groove Kitchen Doors, Bring it along when buying drapes or any other designing supplies sourced from: lowes.com.
Tongue and Groove Kitchen Doors » Kitchens can sometimes be used to welcome friends and allows the number to easily treat their guests to a treat before the meals is ready. These different uses for kitchens have triggered new trends to surface in designs. Your kitchen remodeling market is actually a very interesting business enterprise for a lot of home improvement companies.
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Tongue and Groove Kitchen Doors » You will need to take a few various things into consideration when you select a fresh design for your kitchen. You will need to figure out how much space there may be in your kitchen. If you are completely remodel your kitchen or simply making a few changes, Tongue And Groove Kitchen Doors it's important to maximize the quantity of space that is useful. It's also advisable to take into consideration the designs used in the rest of your property. If you want a kitchen with enough space to sit and speak to friends or family over the glass of tea, in that case your kitchen shouldn't be completely enclosed from the living room so you can simply make the move between the two rooms. There are many options available for you.
1000 images about Tongue & Groove Style Painted Shaker on from Tongue And Groove Kitchen Doors, Take it together with you when shopping for curtains or another designing resources sourced from: pinterest.com.
Whirlpool Tub Installation Planning Armchair Builder from Tongue And Groove Kitchen Doors, Take it along when searching for drapes or some other beautifying materials impression sourced from: blog.armchairbuilder.com.
Tongue and Groove Kitchen Doors » It's also advisable to ask yourself what kind of appliances you will need for your kitchen. The gadgets you need be determined by how big your family is. When you have a huge family, you will need plenty of space for storage, a large Tongue And Groove Kitchen Doors refrigerator and a large oven. You need to carefully choose gadgets such as your refrigerator or your dishwasher so they can make your work in your kitchen easier. Managing your space efficiently is important since greater appliances will take more room. You will also have to determine a Tongue And Groove Kitchen Doors budget for your kitchen redesigning project.