Mexican Table Decoration

mexican table decoration
    table decoration
  • Any of many diverse articles placed on a dining table principally as ornament though some may have a secondary function
  • a native or inhabitant of Mexico
  • (mexico) a republic in southern North America; became independent from Spain in 1810
  • of or relating to Mexico or its inhabitants; "Mexican food is hot"
mexican table decoration - Williams-Sonoma Collection:
Williams-Sonoma Collection: Mexican
Williams-Sonoma Collection: Mexican
Mexico's rich and diverse culinary traditions include countless complex and vibrant dishes. In these pages, you will find recipes that capture the best of the cuisine, from mole poblano, a long-simmered blend of chiles, seeds, and spices, to bright-flavored ceviche dressed with fresh citrus juice. A chapter on desserts also tempts, whether you crave chocolate cake with chile-infused whipped cream or coffee and KahlUa flan.
Williams-Sonoma Collection Mexican offers more than 40 recipes, including well-loved classics and many other timeless dishes. For a casual dinner, fill warm corn tortillas with tender morsels of carnitas or chunks of fresh fish lightly fried to a crisp golden brown. Or, plan a summer supper of watercress salad tossed with orange, jicama, and avocado; creamy corn and poblano chile soup; and delicate sea bass topped with salsa verde. Versatile and delicious, Mexican food is always irresistible.
Full-color photographs of each dish help you decide which one to prepare, and each recipe is accompanied by a photographic side note that highlights a key ingredient or technique, making Mexican more than just a superb collection of recipes. Including all the basics and an extensive glossary, this essential volume will help you create and enjoy many delicious Mexican meals.

76% (7)
American Surety Company Building
American Surety Company Building
Financial District, Downtown Manhattan, New York City, New York The American Surety Company Building, a key building in the evolution of the skyscraper, was erected to designs of the eminent architect Bruce Price between 1894 and 1896. Prominently sited at the southeast corner of Broadway and Pine Street, opposite Trinity Church graveyard, the building stands in the heart of the insurance district; the insurance industry played a major role in the development of this section of Broadway, at the same time fostering advances in skyscraper design. The American Surety Company, one of the leading bond insurance companies in the nation, erected the second highest building in the city. This was the first and most important tall building by Price and reflected his innovative ideas about skyscraper design. It was one of the first buildings in the city to incorporate such structural techniques as steel framing, curtain wall construction, and caisson foundation piers that carry a cantilevered steel foundation structure. Clad in Maine granite, the twenty-three story American Surety building features a rich neo-Renaissance decorative scheme that incorporates Greek elements such as the Ionic entrance colonnade and the severe classical sculptural figures, designed by J. Massey Rhind, at the third story. Credited by the noted architectural critic Montgomery Schuyler with popularizing the tripartite column analogy for tall buildings, Price's design for the American Surety Building set a model for tall buildings on corner sites in the 1890s and was a prototype for the freestanding tower skyscrapers of the early twentieth century. Between 1920 and 1922, as the American Surety Company prospered and expanded, the building was modified with the addition of four bays on Broadway and four bays on Pine Street and by the addition of two penthouse stories. Designed by the talented and inventive New York architect Herman Lee Meader, these additions matched Price's original design in material and articulation. DESCRIPTION AND ANALYSIS The Broadway Insurance District and the American Surety Building As New York became the nation's financial capital in the mid-nineteenth century, the banks and insurance companies that had traditionally clustered around the intersection of Broad and Wall Street began to move to new buildings on Broadway and side streets immediately to the north of Wall Street. These buildings were richly decorated, Renaissance-inspired, multi-story commercial "palaces," averaging about 65 feet in height. The first building to break with this tradition was the Gilman & Kendall and George B. Post headquarters building for the Equitable Life Assurance Company at Broadway and Cedar Street (1868-70, demolished) which rose to a height of 130 feet by making use of such technological innovations as passenger elevators, iron floor beams, and fireproof building materials. By 1875 New York had two other "skyscrapers," the Tribune Building (1873-75, Richard Morris Hunt, demolished) at 260 feet and the Western Union Building (1872-75, George B. Post, demolished) at 230 feet. Beginning about 1879, after a hiatus in construction following the financial panic of 1873, more owners began to replace older commercial palaces with larger elevator buildings. Insurance companies commissioned many of these new buildings. Factors that caused the insurance industry to take the lead in the drive for height included the companies' need to find outlets for their large capital reserves, their openness to innovation, and their recognition of the public relations value of a prominent and handsome home office building that would "establish in the public mind not only [the individual company's] name but also a favorable impression of its operations." In 1893, a guidebook writer observed that "the life corporations have been among the prime causes of the city's architectural growth, for the life insurance buildings of New York surpass the office structures of any city in the world." In addition, intense rivalry between insurance companies often manifested itself in architectural terms. In February 1894, the American Surety Company, then quartered in the Guernsey Building at 160 Broadway, announced that it had acquired the Continental Life Insurance Company's old site at Broadway and Pine Street and intended to construct a twenty-story building to the designs of Bruce Price. Just to the south of the site were the Schermerhorn Building and the United Bank Building. The New York Times's article on the plans for the new American Surety Building observed that it "will throw a shadow over all [the Pine Street insurance buildings], having for its only rival the mammoth structure of Manhattan Life Insurance Company, now building, which will be fifty feet taller but contain two less stories." The American Surety Company Until the 1880s, the business of underwriting had remained largely a
American Southwest Architectural Trend - A Study in Terracotta, Stucco, and Glass Block
American Southwest  Architectural Trend - A Study in Terracotta, Stucco, and Glass Block
Architectural trends in the Southwestern United States combine modern industrial influences with Mexican/Spanish traditional features. Designer/Artist/Architect: Joe Marts Terracotta, Terra cotta or Terra-cotta (Italian: "baked earth",[1] from the Latin terra cocta) is a clay-based unglazed ceramic,[2] although the term can also be applied to glazed ceramics where the fired body is porous and red in color.[3][4][5][6] Its uses include vessels, water and waste water pipes and surface embellishment in building construction, along with sculpture such as the Terracotta Army and Greek terracotta figurines. The term is also used to refer to items made out of this material and to its natural, brownish orange color, which varies considerably. In archaeology and art history, "terracotta" is often used of objects not made on a potter's wheel, such as figurines, where objects made on the wheel from the same material, possibly even by the same person, are called pottery; the choice of term depending on the type of object rather than the material[citation needed]. Production and properties An appropriate refined clay is partially dried and cast, molded, or hand worked into the desired shape. After further thorough drying it is placed in a kiln, or atop combustible material in a pit, and then fired. After pit firing the hot ware is covered with sand to cool, and after kiln firing the kiln is slowly cooled. When unglazed, the material will not be waterproof, but it is suitable for in-ground use to carry pressurized water (an archaic use), for garden ware or building decoration in tropical environments, and for oil containers, oil lamps, or ovens. Most other uses such as for table ware, sanitary piping, or building decoration in freezing environments require that the material be glazed. Terracotta, if uncracked, will ring if lightly struck, but not as brightly as will ware fired at higher temperature, which is called stoneware. The fired material is weak compared to stoneware. Some types of terracotta are created from clay that includes recycled terracotta ("grog"). The unglazed color after firing can vary widely, but most common clays contain enough iron to cause an orange, orangish red, or brownish orange color, with this range including various colors described as "terracotta". Other colors include yellow, gray, and pink. History Terracotta has been used throughout history for sculpture and pottery, as well as bricks and roof shingles. In ancient times, the first clay sculptures were dried (baked) in the sun after being formed. Later, they were placed in the ashes of open hearths to harden, and finally kilns were used, similar to those used for pottery today. However only after firing to high temperature would it be classed as a ceramic material. IMG_1202 - Version 2

mexican table decoration