NEW ROOM DECORATION GAMES : DECORATION GAMES
New Room Decoration Games : Decorate A Half Bath.
New Room Decoration Games
- something used to beautify
- the act of decorating something (in the hope of making it more attractive)
- The process or art of decorating or adorning something
- A thing that serves as an ornament
- an award for winning a championship or commemorating some other event
- Ride the Fader is the second and final album by New York City band Chavez. It was released on November 5, 1996 by Matador Records . All the tracks were written by Chavez. Neither the album nor the band have ever charted.
- (game) bet on: place a bet on; "Which horse are you backing?"; "I'm betting on the new horse"
- A single portion of play forming a scoring unit in a match, esp. in tennis
- (game) a contest with rules to determine a winner; "you need four people to play this game"
- (game) crippled: disabled in the feet or legs; "a crippled soldier"; "a game leg"
- A form of play or sport, esp. a competitive one played according to rules and decided by skill, strength, or luck
- A complete episode or period of play, typically ending in a definite result
New England Patriots Bubba Inflatable Lawn Decoration
Get pumped for game day with an Inflatable Image of your favorite NFL team or university! Every Inflatable Image is carefully design and crafted to replicate hallowed college mascots, logos and NFL player shapes without compromise. The result is a one of a kind team specific shape that represents long standing traditions and gets everyone jacked! Every Inflatable Image is packaged in a space efficient box and comes ready to display with adjustable tie downs, ground anchors, foot stakes and an internal inflation fan that stays neatly out of sight. Inflatable Images provide quick and easy set up for indoor and outdoor display on lawns, porches, at tailgating activities or virtually anywhere. Get ready to rock the house (or the Dawg Pound, The Shoe, Happy Valley, Title Town, The Swamp or anytown USA) with an Inflatable Image of your own.
Erlanger Theater (Saint James Theater)
Theater District, Midtown Manhattan, Manhattan, New York City, New York, United States
The St. James (built as the Erlanger) Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Built in 1926-27, the St. James was designed by the prominent firm of Warren & Wetmore as the last Broadway theater erected for Abraham Erlanger.
Abraham Erlanger had been a principal in the infamous Klaw & Erlanger Theatrical Syndicate, which had dominated the American theater industry for several decades on either side of the turn of the century. After the break-up of the Syndicate, Klaw and Erlanger went their separate ways, and each built theaters named for themselves.
The Erlanger was the first theatrical commission of Warren & Wetmore, one of New York's most prominent architectural .firms. This commission demonstrated Erlanger's determination to make the house that bore his name as handsome a theater as possible.
The St. James, as an unusual theater design by the architects of Grand Central Terminal, and the last Broadway venture of Abraham Erlanger, represents a special and important aspect of the nation's theatrical history. Beyond its historical importance, its facade is a handsome, if restrained, Beaux-Arts style design which contributes to the visual cohesiveness of the Shubert Alley cluster on West 44th and West 45th Streets.
For half a century the St. James Theater has served as home to countless numbers of the plays through which the Broadway theater has come to personify American theater. As such, it continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world.
The Development of the Broadway Theater District
The area of midtown Manhattan known today as the Broadway theater district encompasses the largest concentration of legitimate playhouses in the world. The theaters located there, some dating from the turn of the century, are significant for their contributions to the history of the New York stage, for their influence upon American theater as a whole, and in many cases for their architectural design.
The development of the area around Times Square as New York's theater district at the end of the 19th century occurred as a result of two related factors: the northward movement of the population of Manhattan Island (abetted by the growth of several forms of mass transportation), and the expansion of New York's role in American theater. The northward movement of Manhattan's residential, commercial, and entertainment districts had been occurring at a steady rate throughout the 19th century. In the early 1800s, businesses, stores, hotels, and places of amusement had clustered together in the vicinity of lower Broadway.
As New York's various businesses moved north, they began to isolate themselves in more or less separate areas: the financial institutions remained downtown; the major retail stores situated themselves on Broadway between 14th and 23rd Streets, eventually moving to Herald Square and Fifth Avenue after the turn of the century; the hotels, originally located near the stores and theaters, began to congregate around major transportation centers such as Grand Central Terminal or on the newly fashionable Fifth Avenue; while the mansions of the wealthy spread farther north on Fifth Avenue, as did such objects of their beneficence as the Metropolitan Museum of Art.^"
The theater district, which had existed in the midst of stores, hotels, and other businesses along lower Broadway for most of the 19th century, spread northward in stages, stopping for a time at Union Square, then Madison Square, then Herald Square. By the last two decades of the 19th century, far-sighted theater managers had begun to extend the theater district even farther north along Broadway, until they had reached the area that was then known as Long Acre Square and is today called Times Square.
A district of farmlands and rural summer homes in the early 1800s, Long Acre Square had by the turn of the century evolved into a hub of mass transportation. A horsecar line had run across 42nd Street as early as the 1860s, and in 1871, with the opening of Grand Central Depot and the completion of the Third and Sixth Avenue Elevated Railways, it was comparatively simple for both New Yorkers and out-of-towners to reach Long Acre Square.
Transportation continued to play a large part in the development of the area; in 1904 New York's subway system was inaugurated, with a major station located at 42nd Street and Broadway. The area was then renamed Times Square in honor of the newly erected Times Building. The evolution of the Times Square area as a center of Manhattan's various mass transit systems made it a natural choice for the location of legitimate playhouses, which needed to be easily accessible to their audiences.
The theater business that invaded Long Acre Square at the en
Noonan Plaza Apartments
Highbridge, The Bronx, New York City, New York, United States
Noonan Plaza Apartments, in the Highbridge section of the Bronx, is one of the most impressive Art Deco style apartment complexes in the borough. Built in 1931 for Irish-born developer Bernard J. Noonan, it was designed by the firm of Horace Ginsberg, with the exterior credited to Marvin Fine. The prolific Ginsberg and Fine helped to provide the Bronx with one of its architectural signatures, the urban modernist apartment building, including Park Plaza Apartments (1929-31) on Jerome Avenue. Noonan and Ginsberg had previously collaborated on a number of speculative 1920s apartment buildings in Highbridge, prior to Noonan Plaza.
Situated on a large sloping site, with frontages along Ogden and Nelson Avenues and West 168th Street, the complex is six-to-eight stories with a sophisticated site plan – it is divided into units with exterior perimeter light courts and an interior garden court, an arrangement that provided for apartment layouts with multiple exposures for maximum light and air. The building is clad in tan ironspot brick, with a vertical emphasis consisting of continuous piers contrasting with brown-and-black brick spandrel panels and black brick and geometric pattern accents on the top story. The main entrance, at the corner of Nelson Avenue and West 168th Street, has an angled portico leading into the garden court, flanked by towers (originally with ornamental lanterns) with corner windows.
Apartment Buildings in the Bronx in the 1920s-30s
Noonan Plaza Apartments (1931), in the Highbridge section of the Bronx, is one of the most impressive Art Deco style apartment complexes in a borough characterized by its number of significant urban modernist apartment buildings. The enormous growth of New York City’s population in the late 19th and early 20th centuries was accompanied, after World War I, by a housing shortage. As observed by Carla Breeze in New York Deco (1993),
Manhattanites turned to suburbs in Queens and the Bronx where reasonably priced apartments and houses were available, often in more pastoral surroundings. The garden apartment complex, built around a green commons, was appealing in comparison to the vertical congestion of Manhattan. ... The Bronx became a viable suburb as railroad and subway lines opened vast tracts of land to development. Open space was assiduously protected, and six major parks were within reach of the major new projects along the Grand Concourse.3
Many of these Bronx apartment buildings, for professionals and upwardly mobile middle-class families, were among the best in the city in terms of architecture, planning, size of living space, and amenities. Housing historian Richard Plunz identified the garden apartment as a short-lived phenomenon in New York City development, reaching its apogee in the 1920s. It was (and still is) among the most liveable housing in New York. It set a standard of urban housing that has remained unmatched since. Fundamental to the success of the garden apartment was the balance between building mass and open space so that a level of proximity was maintained which involved a strict definition of the public realm to be shared by neighbors.
Important to this neighboring was a sense of theater, which required use of architectural language bordering on the scenographic. The language of the “garden” of the garden apartment, together with its enclosing facades, was critical to the transformation of housing from a consequence of economic formulas to a unique environment. This entered a realm of fantasy, providing every building with an identity that called forth particular places or tenants. The garden was a critical symbol of arrival for the new middle class, while also facilitating the making of a kind of public theater in which the most joyous myths of urban existence could be acted out.
The conception and development of speculative garden apartments was influenced by two movements in New York City by the beginning of the 20th century: the “model tenement,” or improved housing, movement, and “Garden City” movement. Exemplars of these were the City and Suburban Homes Co. Estates, First Avenue (1898-1915) and Avenue A (1900-13), Manhattan, and Sunnyside Gardens (1924-28, Clarence Stein and Henry Wright), Queens. Architect Andrew J. Thomas, in the Jackson Heights neighborhood in Queens in the 1910s-20s, developed by the Queensboro Corp.,5 and elsewhere, was one of the masters of garden apartment design in a wide variety of styles. Plunz wrote that
Jackson Heights... [was] unusual for the notable concentration of a wide range of garden apartment types, but similar building was prominent throughout the city for moderate-income private housing development until the end of the 1930s. The “garden” spaces tended to become more elaborate as time went on. The Queens, Bronx, and Manhattan versions varied, however, with coverages reflecting their differing conditions of density.6
new room decoration games
A dazzling cycle of short stories by one of China’s most revered contemporary writers and one of the world’s leading artist-intellectuals.
An Empty Room is the first book by the celebrated Chinese writer Mu Xin to appear in English. A cycle of thirteen tenderly evocative stories written while Mu Xin was living in exile, this collection is reminiscent of the structural beauty of Hemingway’s In Our Time and the imagistic power of Kawabata’s palm-of-the-hand stories. From the ordinary (a bus accident) to the unusual (Buddhist halos) to the wise (Goethe, Lao Zi), Mu Xin’s wandering “I” interweaves plots with philosophical grace and spiritual profundity. A small blue bowl becomes a symbol of vanishing childhood; a painter in a race against fading memory scribbles notes in an underground prison during the Cultural Revolution; an abandoned temple room holds a dark mystery. An Empty Room is a soul-stirring page turner, a Sebaldian reverie of passing time, loss, and humanity regained.
small bathroom decorating
home decor wholesale companies
apartment bathroom decorating
the decorating book
lake home decor
cake decorating websites
cowboy boot decorations
Post a comment