GLASS TABLE TOPS LOS ANGELES : BLACK BENCH FOR KITCHEN TABLE.
Glass Table Tops Los Angeles
- A city on the Pacific coast of southern California; pop. 3,694,820. It is a major center of industry, filmmaking, and television
- Los Angeles is the capital of the province of Biobio, in the municipality of the same name, in Region VIII (the Biobio region), in the center-south of Chile. It is located between the Laja and Biobio rivers. The population is 123,445 inhabitants (census 2002).
- Los Angeles Union Station (or LAUS) is a major passenger rail terminal and transit station in Los Angeles, California.
- a city in southern California; motion picture capital of the world; most populous city of California and second largest in the United States
- Exceed (an amount, level, or number); be more than
- (top) the upper part of anything; "the mower cuts off the tops of the grass"; "the title should be written at the top of the first page"
- ace: of the highest quality; "an ace reporter"; "a crack shot"; "a first-rate golfer"; "a super party"; "played top-notch tennis"; "an athlete in tiptop condition"; "she is absolutely tops"
- Be at the highest place or rank in (a list, poll, chart, or league)
- Be taller than
- top(a): situated at the top or highest position; "the top shelf"
glass table tops los angeles - Sanyo HPS-MC3
Sanyo HPS-MC3 3-in-1 Nonstick Electric Multi-Cooker
The 3-In-1 Multi-Cooker grills, steams, and cooks soups or stews with consistent results. With a non-stick titanium-coated grill plate, the cooker allows home chefs to prepare a variety of different grilled dishes, whether meat, fish, poultry, or vegetables, easily and with quick clean up. A steaming tray is used for steaming vegetables and other healthy foods such as fish. The generously sized 4.5-Quart non-stick pot can accommodate soups and stews for the whole family and is just the right size for making perfect pancakes and crepes without oil. The 3-In-1 Multi-Cooker has an adjustable temperature control from low to 460°F. The stainless-style body and glass lid add to the sleek design of this cooker. The steam tray and grill plate nest in the pot for compact and easy storage. AA quick-release magnetic plug and cool-touch handles ensure safety when using the cooker. The glass lid, steam tray, grill plate and pot can all be placed in the dishwasher for easy clean up.
nobody likes the future better than glass
i wrote this back in the fall of 2007 during my manhattan year. i was living in stuyvesant town, now known as peter cooper village... ran across it today and liked some stuff in it. thought it was worthy and might make more sense to people now. mostly wanted to post if for the scientists. catch up, dudes... it isn't easy to slip into a stream of humanity unless no one is looking. or looking so hard that they see everything they want to see and edit the rest out. so, from under the table i can type my thoughts away -- now the two handed gunman at work, no longer one hand under the table and talking to myself (the american tourist's manners) ... blah, blah, blah on the corner of tompkins square and avenue b and east 10th. i bring with me the new etiquette. how delightful, a ha ha ha.. i'm still running down the transference properties of "tipping" in a society that ends up valuing service as much as product. it is very dangerous, to my mind. causes untold havoc and ruin in the service sector by using carrot tops as treaty bait. but what outrages us the most is that people don't just fall for the carrot top, they actually endanger the very existence of other, less carrot top hungry pedestrians. the "innocent" become a much wider class when the narcissism of action is mortal, life crushing, the woman reaching for her phone who runs a jogger down on the side of the road. this is the precursor love warning that the world is receiving here in the post-industrialized, service empowered, socially retarded age of less manners and more rote. soon, sudden death syndrome will overshadow these social "pre-conditioning horrors". it will make more sense to us that people should suddenly die -- car crashes, train crashes, airplane crashes. more and more crashes that are the result of sudden pilot deaths (SPD). SPD refers to any accidents or multi-pile up incidents which are set off by an SPD. The rise in "sudden death syndromes" goes up in conjunction with false life support medications which allow dead and dying bodies to operate and function at deceptive levels of ability and skill. our society is consciously making efforts to absorb the SPD fatalities. we do not call attention to the dangers of pharmaceutical aspects of numbing and deadening. to market and distribute usable drugs that shutdown user awareness regarding basic motility functions -- walking, turning, seeing, driving, negotiating simple but necessary maneuvers -- is too intentionally negligent to not be punishable by some future law. and this, as we have seen in basic federal legislation, has corroded, eroded and downright de-boned any sense of justice in this republic-being-reduced-to-oligarchy state. the randomness within the closed operating systems of traffic control, while indisputably large, will have the trifecta power of inversely affecting all system users in reverse of the way that the kevin bacon phenomenon of six degrees of separation brings people together. firstly, it is the arena where all transport system users find relatively safety. 99.65% of all system users arrive from one destination to another without ANY outward form of harm or injury, regardless of the speed they traveled at during the trip. secondly, the transit system is an arena that has become littered with "alternative awareness" opportunities. women proved this as early as the 70s when applying makeup to their faces for work in rush hour traffic and sipping carbonated beverages from aluminum pop top cans. now, over 65% of transport users seek escapist alternatives to any form of "boredom or downtime" according to overwhelming research into entertainment markets. like all research, it is dependent upon honesty at every level. safer to say that a variant rate of belief should coincide with the subject matter's sensitivity. like asking out loud at a party if people like to drink and drive... but who doesn't love to talk on the phone and sound important and protected by the outside connection? this is an easy vice to fall into and it hardly seems as dangerous as a martini-fueled drive through los angeles at 11:30 in the evening down by venice beach racing the lights. but it is even more dangerous, and unlike the scenario in hellay, it is much easier to strike an innocent person during daylight hours. so who would risk another's life to retrieve their ringing phone? would you? seriously. are you the kind of person who can't resist retrieving a phone that is ringing? then you are also in line for SPD. this market was made for you. and it is inherently VANITY itself which drives this kind of market -- a market of time saving necessity at the expense of time itself. therefore, all preparations for future time fall into this category of mobility vanity, and all tools and toys that alienate us from the experience of driving are subsequently detractive elements. and this is reaso
Miner (1985) by David Salle
Photo credit: Claire Hunter David Salle Miner, 1985 96” by 162” acrylic, oil, wood and metal tables/canvas, fabric Art © David Salle/Licensed by VAGA, New York, NY Miner (1985) is now on view in David Salle: Some Pictures from the 80s at Mary Boone Gallery’s Chelsea location, 541 West 24th Street, from May 8th to June 26th. Born in Oklahoma in 1952, Salle gained recognition in the early 1980s. Often grouped with his peers, who included Jean-Michel Basquiat, Eric Fischl, and Julian Schnabel, the artists were categorized as “Neo-Expressionists.” In contrast to the preceding decade, during which minimalism, conceptual art, and arte povera emerged, Neo-Expressionism embraced representation, and the bold, undaunted hand of the artist is clearly evident in their individual artwork. Within this grouping, Salle’s work may be distinguished by its seemingly unrelated, layered images that are superimposed on the canvas and often paired with a second canvas. Only by looking at each layer carefully the viewer begins to connect images, creating associations unique to each individual. Miner, a large scale work, is composed of four parts: two painted canvases and two broken cafe tables. On the right, a seated male-figure leans forward. Depicted only in black and white, his eyes are blank and distant. Floating above each of his forearms, in the bicep area, is a purple line drawing of a ring inset with a large jewel, the end product of his labor. Attached perpendicular to the canvas, on each side of his head is a white cafe table. The wooden table tops are smashed from below, such that sharp, broken surfaces protrude toward the viewer. Simmering emotions and pathos overwhelm the right side of the artwork. To the contrary on the left, colorful line drawings are painted and layered onto a striped fabric. The drawings are difficult to read, although each layer is differentiated by color. The upper body and profile of patrician woman in patterned garb and the column capitals of Frank Lloyd Wright’s Johnson Wax Building in Racine, Wisconsin slowly emerge from the surface. The female figure has a furrowed brow. The office does not depict the floor or any activity that occurs within its walls. It is impersonal, faceless and cold. Acquired in 1985 by Philip Johnson, Miner was first at Mary Boone Gallery, New York, then loaned to the Carnegie Museum of Art, Pittsburgh for its triennial, Carnegie International 1985. This work was prominently displayed in David Salle, anexhibition organized by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia in 1986, travelling from 1987-88 to the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Art Gallery of Ontario, Toronto; the Museum of Contemporary Art, Chicago; and The Menil Collection, Houston. David Salle lives and works in Brooklyn, New York.
glass table tops los angeles
From the arid deserts of Tucson, Arizona to the icy forests of Poori, Finland to the tropical beaches of New South Wales, Australia to the urban jungle of downtown Manhattan, critics Alanna Stang and Christopher Hawthorne have traveled to the farthest reaches of the globe to find all that is new in the design of sustainable, or "green," homes. The result: more than thirty-five residences in fifteen countries -- and nearly every conceivable natural environment -- designed by a combination of star architects and heretofore unknown practitioners.
Six different climactic zones are presented in The Green House -- waterfront, forest and mountain, tropical, desert, suburban, and urban; there is also a section on mobile dwellings. Each chapter features a series of homes that show the diversity and possibility of sustainable design. Projects are presented with large color images, plans, drawings, and an accompanying text that describes their green features and explains how they work with and in the environment.
Architects included: Santiago Calatrava, Shigeru Ban, Miller/Hull, Rick Joy, Lake Flato, Kengo Kuma, Glenn Murcutt, Pugh & Scarpa, Werner Sobek, and many others.
The Green House is not only a beautiful object in its own right, but is sure to be an indispensable reference for anyone building or interested in sustainable design -- and if you ask us, that should be everyone.