Marble Design Quotes

Art isn't only a painting. Art is anything that's creative, passionate, and personal. And great art resonates with the viewer, not only with the creator. What makes someone an artist? I don't think is has anything to do with a paintbrush. There are painters who follow the numbers, or paint billboards, or work in a small village in China, painting reproductions. These folks, while swell people, aren't artists. On the other hand, Charlie Chaplin was an artist, beyond a doubt. So is Jonathan Ive, who designed the iPod. You can be an artists who works with oil paints or marble, sure. But there are artists who work with numbers, business models, and customer conversations. Art is about intent and communication, not substances. An artists is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artists takes it personally. That's why Bob Dylan is an artist, but an anonymous corporate hack who dreams up Pop 40 hits on the other side of the glass is merely a marketer. That's why Tony Hsieh, founder of Zappos, is an artists, while a boiler room of telemarketers is simply a scam. Tom Peters, corporate gadfly and writer, is an artists, even though his readers are businesspeople. He's an artists because he takes a stand, he takes the work personally, and he doesn't care if someone disagrees. His art is part of him, and he feels compelled to share it with you because it's important, not because he expects you to pay him for it. Art is a personal gift that changes the recipient. The medium doesn't matter. The intent does. Art is a personal act of courage, something one human does that creates change in another.

I took the liberty of designing your pennant,” said Rhy, resting his elbows on the gallery’s marble banister. “I hope you don’t mind.” Kell cringed. “Do I even want to know what’s on it?” Rhy tugged the folded piece of fabric from his pocket, and handed it over. The cloth was red, and when he unfolded it, he saw the image of a rose in black and white. The rose had been mirrored, folded along the center axis and reflected, so the design was actually two flowers, surrounded by a coil of thorns. “How subtle,” said Kell tonelessly. “You could at least pretend to be grateful.” “And you couldn’t have picked something a little more … I don’t know … imposing? A serpent? A great beast? A bird of prey?” “A bloody handprint?” retorted Rhy. “Oh, what about a glowing black eye?” Kell glowered. “You’re right,” continued Rhy, “I should have just drawn a frowning face. But then everyone would know it’s you. I thought this was rather fitting.

The white marble surface was inlaid with semiprecious stones in seamless floral designs and in chaste calligraphy, shaped stones, jeweled stones, delicate and free-figured. The surface ran cool and smooth. Traceries of black Koranic figures covered the longer sides of the tomb with a smaller group on top. My hand moved slowly over the words, feeling for breaks between the inlay and marble, not to fault the craftsmen, of course, but only to find the human labor, the individual, in the wholeness and beauty of the tomb.

Now, Woolf calls her fictional bastion of male privilege Oxbridge, so I'll call mine Yarvard. Even though she cannot attend Yarvard because she is a woman, Judith cheerfully applies for admission at, let's call it, Smithcliff, a prestigious women's college. She is denied admission on the grounds that the dorms and classrooms can't accommodate wheelchairs, that her speech pattern would interfere with her elocution lessons, and that her presence would upset the other students. There is also the suggestion that she is not good marriage material for the men at the elite college to which Smithcliff is a bride-supplying "sister school." The letter inquires as to why she hasn't been institutionalized. When she goes to the administration building to protest the decision, she can't get up the flight of marble steps on the Greek Revival building. This edifice was designed to evoke a connection to the Classical world, which practiced infanticide of disabled newborns.

Resting on what's considered great has always been a recipe for decline. I remember touring Rome with a guide who pointed out one marvelous achievement after another of the first Roman emperor, Augustus. Augustus was said to have inherited a city of brick and left a city of marble, with twelve entrances on twelve hills. He built nearly a thousand glorious new structures - bridges, buildings, monuments, and aqueducts. As we marveled at the remnants of Augustus's grand designs, our guide exclaimed with pride that this era marked the pinnacle of Rome's greatness. What came next?' I asked. After an awkward silence, the guide said, 'Slow ruin.

The entrance hall was designed to impress. The floor was a buttery cream-colored marble and the walls were paneled in dark wood. I'm not a lumberjack, so I had no idea what kind of wood it was, but it looked expensive.

Also: seriously, broomsticks? He was going to fly on, basically, a line segment? Wasn't that pretty much the single most unstable shape you could possibly find, short of attempting to hold on to a point marble? Who'd selected that design for a flying device, out of all the possibilities? Harry had been hoping that it was just a figure of speech, but no, they were standing in front of what looked for all the world like ordinary wooden kitchen broomsticks. Had someone just gotten stuck on the idea of broomsticks and failed to consider anything else? It had to be. There was no way that the optimal designs for cleaning kitchens and flying would happen to coincide if you worked them out from scratch.

as they approached the throne, Ali could not help but admire it. Twice his height and carved from sky blue marble, the throne originally belonged to the Nahids and looked it, a monument to the extravagance that had gotten them overthrown. It was designed to turn its occupant into a living shedu, the legendary winged lion that had been their family symbol. Rubies, carnelians, and pink and orange topaz were inlaid above the head to represent the rising sun, while the arms of the throne were similarly jeweled to imitate wings, the legs carved into heavy clawed paws.

The rich sought to conquer one another on battlefields of architectural grandeur. Society fought wars in ballrooms and twinkling parlors, wielding the most haute of designers and decor as their weapons of choice, Italian marble beneath their feet.

The Peacemaker Colt has now been in production, without change in design, for a century. Buy one to-day and it would be indistinguishable from the one Wyatt Earp wore when he was the Marshal of Dodge City. It is the oldest hand-gun in the world, without question the most famous and, if efficiency in its designated task of maiming and killing be taken as criterion of its worth, then it is also probably the best hand-gun ever made. It is no light thing, it is true, to be wounded by some of the Peacemaker’s more highly esteemed competitors, such as the Luger or Mauser: but the high-velocity, narrow-calibre, steel-cased shell from either of those just goes straight through you, leaving a small neat hole in its wake and spending the bulk of its energy on the distant landscape whereas the large and unjacketed soft-nosed lead bullet from the Colt mushrooms on impact, tearing and smashing bone and muscle and tissue as it goes and expending all its energy on you. In short when a Peacemaker’s bullet hits you in, say, the leg, you don’t curse, step into shelter, roll and light a cigarette one-handed then smartly shoot your assailant between the eyes. When a Peacemaker bullet hits your leg you fall to the ground unconscious, and if it hits the thigh-bone and you are lucky enough to survive the torn arteries and shock, then you will never walk again without crutches because a totally disintegrated femur leaves the surgeon with no option but to cut your leg off. And so I stood absolutely motionless, not breathing, for the Peacemaker Colt that had prompted this unpleasant train of thought was pointed directly at my right thigh. Another thing about the Peacemaker: because of the very heavy and varying trigger pressure required to operate the semi-automatic mechanism, it can be wildly inaccurate unless held in a strong and steady hand. There was no such hope here. The hand that held the Colt, the hand that lay so lightly yet purposefully on the radio-operator’s table, was the steadiest hand I’ve ever seen. It was literally motionless. I could see the hand very clearly. The light in the radio cabin was very dim, the rheostat of the angled table lamp had been turned down until only a faint pool of yellow fell on the scratched metal of the table, cutting the arm off at the cuff, but the hand was very clear. Rock-steady, the gun could have lain no quieter in the marbled hand of a statue. Beyond the pool of light I could half sense, half see the dark outline of a figure leaning back against the bulkhead, head slightly tilted to one side, the white gleam of unwinking eyes under the peak of a hat. My eyes went back to the hand. The angle of the Colt hadn’t varied by a fraction of a degree. Unconsciously, almost, I braced my right leg to meet the impending shock. Defensively, this was a very good move, about as useful as holding up a sheet of newspaper in front of me. I wished to God that Colonel Sam Colt had gone in for inventing something else, something useful, like safety-pins.

When Larry Sherman designed the Kansas City gun experiment, he was well aware of this problem. “You wouldn’t tell doctors to go out and start cutting people up to see if they’ve got bad gallbladders,” Sherman says. “You need to do lots of diagnosis first before you do any kind of dangerous procedure. And stop-and-search is a dangerous procedure. It can generate hostility to the police.” To Sherman, medicine’s Hippocratic oath—“First, do no harm”—applies equally to law enforcement. “I’ve just bought myself a marble bust of Hippocrates to try to emphasize every day when I look at it that we’ve got to minimize the harm of policing,” he went on. “We have to appreciate that everything police do, in some ways, intrudes on somebody’s liberty. And so it’s not just about putting the police in the hot spots. It’s also about having a sweet spot of just enough intrusion on liberty and not an inch—not an iota—more.

Like a block of marble, our lives are finite. They start out rough and formless. Each choice we make places a chisel to the stone. Each action irreversibly chips away time. No action is so insignificant that it can’t benefit from our attention. It’s the lack of attention that’s often responsible for the rubble of cringeworthy decisions weighing on our conscience.

He saw a chamber, broad and low, designed, in its every rich stain of picture and slumberous hanging, to appeal to the sensuous. And here the scent was thick and motionless. Costly marqueterie; Palissy candlesticks reflected in half-concealed mirrors framed in embossed silver; antique Nankin vases brimming with pot-pourri; in one comer a suit of Milanese armour, fluted, damasquinee, by Felippo Negroli; in another a tripod table of porphyry, spectrally repeating in its polished surface the opal hues of a vessel of old Venetian glass half filled with some topaz-coloured liqueur - such and many more tokens of a luxurious aestheticism wrought in the observer an immediate sense of pleasurable enervation. He noticed, with a swaying thrill of delight, that his feet were on a padded rug of Astrakhan - one of many, disposed eccentrically about the yellow tassellated-marble floor; and he noticed that the sole light in the chamber came from an iridescent globed lamp, fed with some fragrant oil, that hung near an alcove traversed by a veil of dark violet silk. ("The Accursed Cordonnier")

All elves were jaw-droppingly gorgeous, but there was something particularly handsome about Keefe Sencen—and the boy was well aware of it. Though he seemed a little off his game at the moment. His smug smirk was noticeably absent as he scrounged around his blankets, searching for something. “Here,” Ro said, tossing Keefe a wrinkled black tunic from the floor. “Bet you’re wishing it didn’t smell so much like sweaty boy in here, huh?” “It’s fine,” Sophie promised, even if the room could definitely use some airing out. A good cleaning would work wonders too. Everywhere she looked were piles of crumpled clothes and scattered shoes and stacks of papers and plates of half-eaten food. And all the thick curtains were drawn tight, leaving the space dim and stuffy. The room was clearly designed to be beautiful, with marble floors broken up by rugs woven to look like pristine sand, and seafoam walls inlaid with starfish and anemone shells. But under Keefe’s care, it was a disaster zone. Even the furniture had a strange randomness to the arrangement that made Sophie wonder if he’d moved it all just to bug his dad.

I saw that a large green marble basin, in which I was wont to wash, and which stood on a low pedestal of the same material in a corner of my room, was overflowing like a spring; and that a stream of clear water was running over the carpet, all the length of the room, finding its outlet I knew not where. And, stranger still, where this carpet, which I had myself designed to imitate a field of grass and daisies, bordered the course of the little stream, the grass-blades and daisies seemed to wave in a tiny breeze that followed the water's flow; while under the rivulet they bent and swayed with every motion of the changeful current, as if they were about to dissolve with it, and, forsaking their fixed form, become fluent as the waters.

Many people don’t realize this, but the Taj Mahal is a single mausoleum, designed, constructed, and maintained for one woman: Mumtaz Mahal, the favorite wife of Emperor Shah Jahan. The emperor was so distressed by the death of his beloved that he commissioned the construction of the Taj Mahal. He preserved her body for the more than twenty years it took to build (from 1632 to 1653); he spent thirty-two million rupees (nearly a billion dollars in today’s currency), and employed twenty thousand of the world’s greatest artisans, imported Italian marble (which was not an easy thing to do in seventeenth-century India—and not to mention that India had its own makrana marble he could have been using), all to create a private tomb worthy of his lost love.

It [the charcuterie] was almost on the corner of the Rue Pirouette and was a joy to behold. It was bright and inviting, with touches of brilliant colour standing out amidst white marble. The signboard, on which the name QUENU-GRADELLE glittered in fat gilt letter encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On the two side panels of the shop front, similarly painted and under glass, were chubby little Cupids playing in the midst of boars' heads, pork chops, and strings of sausages; and these still lifes, adorned with scrolls and rosettes, had been designed in so pretty and tender a style that the raw meat lying there assumed the reddish tint of raspberry jam. Within this delightful frame, the window display was arranged. It was set out on a bed of fine shavings of blue paper; a few cleverly positioned fern leaves transformed some of the plates into bouquets of flowers fringed with foliage. There were vast quantities of rich, succulent things, things that melted in the mouth. Down below, quite close to the window, jars of rillettes were interspersed with pots of mustard. Above these were some boned hams, nicely rounded, golden with breadcrumbs, and adorned at the knuckles with green rosettes. Then came the larger dishes--stuffed Strasbourg tongues, with their red, varnished look, the colour of blood next to the pallor of the sausages and pigs' trotters; strings of black pudding coiled like harmless snakes; andouilles piled up in twos and bursting with health; saucissons in little silver copes that made them look like choristers; pies, hot from the oven, with little banner-like tickets stuck in them; big hams, and great cuts of veal and pork, whose jelly was as limpid as crystallized sugar. Towards the back were large tureens in which the meats and minces lay asleep in lakes of solidified fat. Strewn between the various plates and sishes, on the bed of blue shavings, were bottles of relish, sauce, and preserved truffles, pots of foie gras, and tins of sardines and tuna fish. A box of creamy cheeses and one full of snails stuffed with butter and parsley had been dropped in each corner. Finally, at the very top of the display, falling from a bar with sharp prongs, strings of sausages and saveloys hung down symmetrically like the cords and tassels of some opulent tapestry, while behind, threads of caul were stretched out like white lacework. There, on the highest tier of this temple of gluttony, amid the caul and between two bunches of purple gladioli, the alter display was crowned by a small, square fish tank with a little ornamental rockery, in which two goldfish swam in endless circles.

Flattery was a prime department store strategy for cultivating customers, and men got a heavy dose. Males could expect to be treated like busy executives and discriminating men of the world. Men’s sections, floors, and entire stores were designed to resemble opulent clubs, often outfitted with wood-paneled grills that women customers were not permitted to enter. Vandervoort’s and Filene’s went to somewhat unusual lengths in furnishing a men’s lounge and smoking room, oddly working against the prevailing assumption that men had no time to spare. In Halle’s new men’s store of the late 1920s, dark mahogany paneling and carved marble detailing created the ambience of a priestly inner sanctum. Filene’s furnished an indoor putting green in its men’s store of 1928. Wanamaker’s outdid itself in 1932, the unlucky Depression year it opened its luxurious six-story men’s store in the Lincoln-Liberty building, with stocks of British imports and an equestrian shop too. Both Wanamaker’s and Marshall Field sold airplanes. Lord & Taylor reserved its tenth floor in New York City for men, with heman departments for cutlery, the home bar, and barbecue equipment. Gimbels, Macy’s, and Hearn’s stuck to more basic appeals, using their large liquor departments to attract men.

For one moment, she stood stock-still, drinking in the simple beauty of the marble fountain, the base of its pedestal wreathed in delicate fronds, that stood, glowing lambently in the soft white light, in the center of a small, secluded, fern-shrouded clearing. Water poured steadily from the pitcher of the partially clad maiden frozen forever in her task of filling the wide, scroll-lipped basin. The area had clearly been designed to provide the lady of the house with a private, refreshing, calming retreat in which to embroider, or simply rest and gather thoughts. In the moonlit night, surrounded by mysterious shadow and steeped in a silence rendered only more intense by the distant sighing of music and the silvery tinkle of the water, it was a hauntingly magical place. For three heartbeats, the magic held Patience immobile. Then, through the fine silk of her gown, she felt the heat of Vane's body. He did not touch her, but that heat, and the flaring awareness that raced through her, had her quickly stepping forward. Hauling in a desperate breath, she gestured to the fountain. "It's lovely." "Hmm," came from close behind. Too close behind. Patience found herself heading for a stone bench, shaded by a canopy of palms. Stifling a gasp, she veered away, toward the fountain.

Ebru, or water marbling, is formed by drawing designs with dye on the surface of water and then transferring the whirled image onto paper placed on the water.

the simplest, least adorned space within the crypt or indeed the entire church. A raised white marble platform, ankle-high, on which lies a slab of gray granite with a surround of rose-colored marble. The granite is engraved with Gaudí’s epitaph. The slab lies perpendicular to a wall of large limestone blocks. On each side of the wall are two similar walls joined at oblique angles, drawing the eye to the grave. Low to the ground is a ribbonlike surround of wrought iron rails designed to hold votive candles, now bare. Instead, a single row of red candles burn brightly at the foot of the tomb. Above it, on a small pedestal, is a graceful statue of the Virgin Mary, holding the infant Jesus. Against the limestone walls, four pedestaled columns rise to the apex of the crypt, framing three tall arches that poke into the apse above.

If bad was spilling a piping hot latte over a laptop, subsequently frying thirty new designs without backing them up, and if very bad was ordering fifty grand’s worth of the wrong marble slabs, then very, very bad was letting my boss go down on me in his sister’s bathroom. As

A Great Design Monochrome, it's a Saturn world Lying beneath the rings And they tell me we don't have a long time 'til our decline All the grown men are set in their ways Shining in the street And they tell me we don't have a long time, a great design Why don't you shame the world Shame it with your words and I'll smile Why don't you shame the world Shame it with words and I'll finally make believe I'll atone for the saddle verse Dry beneath my feet And they tell me I don't have a long time to change your mind All the grown men are set in their ways Shining in the street And they tell me we don't have a long time, a great design Shame the world Shame it with your words and I'll smile We always have the tender words to my mind

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In the months and years following my participation in the completion of Oracle of Compassion: the Living Word of Kuan Yin, I did, in accordance with the deity’s former declaration—that she would continue sending important dreams, experience many dreams and visitations from Kuan Yin. It was after completing the transcription of some of the Kuan Yin quotes that I fell into a deep slumber. Just before awakening, I dreamt of Kuan Yin standing in my living room directly in front of the marble-tiled fireplace wherein Lena Lees and I would hold prayer circles. So real was this vision that I could hear the deity’s sweet voice explain that there is a specific meditation for connecting with the Celestial Wisdom! Witnessing Kuan Yin lie face down on the Oriental Carpet with arms outstretched over Her head, I watched as Her thumb and forefinger formed a triangle—the dhyana mudra specifically designated to Kannon called the dhyana mudra displayed by the fourth Dhyani Buddha Amitabha, also known as Amitayus Kuan Yin. It was then that Kuan Yin further explained the significance of this specific mudra; that it acts similar to a capstone on an obelisk—drawing wisdom to one who has demonstrated intention to be a teacher of wisdom. Aware that Kuan Yin was pointed in a northward direction, I surmised this particular alignment was also a significant aspect of the meditation—that this specific positioning was most ideal for receiving answers for prayers directed to the Her. Later in the dream, it was confirmed that each person attracts from the universe, realities that are aligned with their specific beliefs and values.

Baudrillard argues that there used to be a time when the role of objects was primarily to signify rather than to function. Thus, the symbolic structure of the traditional domestic ambience reflected the rituals and traditions of the socio-political order, arranged according to prescriptive and unchanging rules based on, and extracted from, ‘tradition and authority, and whose heart is the complex affective relationship that binds all the family members together […] Hence, the fixed and immovable meanings with which these objects were endowed: if mirrors and family portraits symbolized a particular sense of introspection and enclosure, the clock crowning the marble mantelpiece symbolized both the hierarchical structure of the family and the permanence of time. Linked to one meaning and one meaning only, every object of the traditional domestic interior can thus be understood as theatrical and ceremonial, thus occupying a specific place within the domestic interior exactly as family members occupy a specific position in their corresponding family tree.

The spectacle interested him, interested him deeply, though it came over him that he wasn’t particularly eager for a way of life represented by marble and gilt and feathered hats. No, what seized his innermost attention, what held him there day after day in noon revery, was the sense of a great, elaborate structure, a system of order, a well-planned machine that drew all these people to itself and carried them up and down in iron cages and arranged them in private rooms. He admired the hotel as an invention, an ingenious design, a kind of idea, like a steam boiler or a suspension bridge. But could you say that a bridge or a steam boiler was an idea? In the warm, bright lobby Martin’s thoughts would grow confused, as if he had been falling into a fantastic dream,

The walls were painted a robin's-egg blue. Antique wood-and-glass display cases had mottled milk chocolate-brown marble countertops. Antique iron-and-glass stands would make the future little cakes (under their glass domes) pop up and down on the counter like jaunty hats. From the top of the left wall of the bakery, Gavin had hung a canvas curtain and arranged a display area in front of it. Both the curtain and display would change each month- as would, of course, the colors and flavors we showcased. The idea was to sell not only cakes, but also cake stands, serving pieces, plates, paper napkins, and other goodies, so once your little cakes got home, they'd look as good as they did in my bakery. One-stop shopping. On the right, Gavin had arranged a seating area with dark bentwood chairs and cafe tables. It looked like a tea salon in Paris. I sighed with delight. But I wanted to see where I would spend most of my time. The work and storage areas were screened off in the back, although I would have been happy to show off my two Vulcan convection-ovens-on-wheels and the big stainless steel worktable with the cool marble slab at one end for chocolate work. The calm milk-chocolate plaster walls, stainless steel, and white marble made the workspace look like a shrine to the cake baker's art.

In 1925, a master plan was instituted to blend the French neo-classical design with the tropical background. The Art Deco movement, both in Havana and in Miami Beach, took hold during the late 1920’s, and is found primarily in the residential section of Miramar. Miramar is where most of the embassies are located, including the massive Russian embassy. The predominant street is Fifth Avenue known as La Quinta Avenida, along which is found the church of Jesus de Miramar, the Teatro Miramar and the Karl Marx Theater. There is also the Old Miramar Yacht Club and the El Ajibe Restaurant, recently visited and televised by Anthony Bourdain on his show, “No Reservations.” Anthony Bourdain originally on the Travel Channel is now being shown on CNN. The modern five-star Meliá Habana hotel, known for its cigar bar, is located opposite the Miramar Trade Centre. Started in 1772, el Paseo del Prado, also known as el Paseo de Marti, became the picturesque main street of Havana. It was the first street in the city to be paved and runs north and south, dividing Centro Habana from Old Havana. Having been designed by Jean-Claude Nicolas Forestier, a French landscape architect, it connects the Malecón, the city’s coastal esplanade, with a centrally located park, Parque Central. Although the streets on either side are still in disrepair, the grand pedestrian walkway goes for ten nicely maintained blocks. The promenade has a decorated, inlaid, marble terrazzo pavement with a balustrade of small posts. It is shaded by a tree-lined corridor and has white marble benches for the weary tourist. Arguably, the Malecón is the most photographed street in Havana. It lies as a bulwark just across the horizon from the United States, which is only 90, sometimes treacherous miles away. It is approximately 5 miles long, following the northern coast of the city from east to west. This broad boulevard is ideal for the revelers partaking in parades and is the street used for Fiesta Mardi Gras, known in Cuba as Los Carnavales. It has at times also been used for “spontaneous demonstrations” against the United States. It runs from the entrance to Havana harbor, alongside the Centro Habana neighborhood to the Vedado neighborhood, past the United States Embassy on the Calle Calzada.

In America’s Gilded Age palaces the opulence of France’s ancien régime was the style most often simulated. As a result, the first-class lounge on A deck, the showiest of the Titanic’s public rooms, had been designed to emulate Versailles—though with some English coziness added in the patterned carpeting and comfortably upholstered sofas with large green pillows. The walls were paneled in oak with carved rococo detailing, although the use of gilding was restrained, reserved for some details on the plastered ceiling, a gilt ormolu wall clock, and the statuette of the Artemis of Versailles on the marble mantelpiece. At the far end of the room stood a mahogany, glass-fronted bookcase that held the ship’s library, and from its shelves

iPhones are not the Elgin Marbles, or Stonehenge, or anything else where part of the miracle is that it lasts.

I slid into one of my black suits (why other colors existed was beyond me. Black was suitable for every occasion. The only exception I made was with gray sweatpants, because those were practically considered lingerie for men) and wandered out of the master bedroom. I descended down the three marble steps to the living room. Black, sleek chandeliers dripped from the ceiling, and upholstered black leather couches and recliners filled the room. The three walls that weren’t floor-to-ceiling windows were bare, raw concrete. Everything about my place was dark, indulgent, and dangerous. An apartment carefully designed in the aesthetic of a modern douchebag.

The hotel was unlike any building I had ever been inside before. It had a high polygonal atrium and planters everywhere. The architecture of everything but the doorways used oblique angles, as if it had been designed by an anthroposophist. All the vertical surfaces were exposed aggregate or dark wood, with touches of brass and smoked mirrors. There were dozens of overstuffed brown leather armchairs scattered across a tiered landscape of glistering taupe carpet. It was a place that had once been luxurious but had lost the race for the rich customers to modern glass and marble,

What Ibarra calls the “plan-and-implement” model—the idea that we should first make a long-term plan and execute without deviation, as opposed to the “test-and-learn” model—is entrenched in depictions of geniuses. Popular lore holds that the sculptor Michelangelo would see a full figure in a block of marble before he ever touched it, and simply chip away the excess stone to free the figure inside. It is an exquisitely beautiful image. It just isn’t true. Art historian William Wallace showed that Michelangelo was actually a test-and-learn all-star. He constantly changed his mind and altered his sculptural plans as he worked. He left three-fifths of his sculptures unfinished, each time moving on to something more promising. The first line of Wallace’s analysis: “Michelangelo did not expound a theory of art.” He tried, then went from there. He was a sculptor, painter, master architect, and made engineering designs for fortifications in Florence. In his late twenties he even pushed visual art aside to spend time writing poems (including one about how much he grew to dislike painting), half of which he left unfinished. Like anyone eager to raise their match quality prospects, Michelangelo learned who he was—and whom he was carving—in practice, not in theory. He started with an idea, tested it, changed it, and readily abandoned it for a better project fit. Michelangelo might have fit well in Silicon Valley; he was a relentless iterator. He worked according to Ibarra’s new aphorism: “I know who I am when I see what I do.

Soon after their marriage, the young Belmonts established themselves in a lower Fifth Avenue house that was grander than anything that existed in New York. It was, among other things, the first private house in the city to have its own ballroom—a room designed for nothing but the annual Belmont ball and which, as Edith Wharton commented later, “was left for three hundred and sixty-four days of the year to shuttered darkness, with its gilt chairs stacked in a corner and its chandelier in a bag.” The Belmonts were also the first to own their own red carpet, to be rolled down the marble front steps and across the sidewalk for parties, instead of renting one, along with the chairs, from a caterer.

The home I grew up in was something you might expect to find in an F. Scott Fitzgerald novel. Domed ceilings with ornate moldings, inlaid marble floors, and more powder rooms than people. It was a small palace. Mom loved French architecture and décor and would take trips overseas to find unique antiques. There were two exterior swimming pools, a tennis court, a pavilion, plus a rose garden, Italian stepped stone fountains, and grounds galore. A branch of the Trinity River flowed near stone-covered walking paths, swaths of carefully tended grass in green spaces waving nearby.

It offered so many columns, pediments, friezes, tripods, gladiators, urns and volutes that it looked as if it had not been built of white marble, but squeezed out of a pastry tube. It was, however, built of white marble. No one knew that but the owners who had paid for it. It was now of a streaked, blotched, leprous color, neither brown nor green but the worst tones of both, the color of slow rot, the color of smoke, gas fumes and acids eating into a delicate stone intended for clean air and open country. The Frink National Bank Building, however, was a great success. It had been so great a success that it was the last structure Guy Francon ever designed; its prestige spared him the bother from then on.

Crumbling walls, adorned by basalt demons designed to frighten away invaders, cupped the wine cloaked marble villas and temples.

I stood under the arch and absorbed the image. Rose and blue and ancient oriental rugs held pale pink loveseats with curved arms and perfectly faded silk upholstery. Sheer white-winged angels floated on a ceiling of baby-blue sky with clouds of spun gold. And eastern-facing windows of blue stained glass held paler blue stained-glass crosses in the middle. Daylight and streetlamps were obliterated by thick velvet curtains with gold tasseled ropes, and a small, dusty beam of faded light managed to seep past the heavy drapes, making it look like the tail end of the day instead of the early part of the afternoon. His home was lavish and seductive, and I thought it rare that a man living alone could create a thing of such intensity. For the second time in two days I found myself having to adjust my opinion of Michael Bon Chance. It was a marble fountain that ended my reverie and brought me back down to earth. It was the true centerpiece of the room, with water slowly seeping from a cracked jug and dripping over a statue of a nude couple, bathing. I cringed at the sound. Michael looked at me. "Something wrong?" "It's the dripping." He went over to the bar and poured me a glass of wine. "You're tense. Maybe this will help." I took a sip from the glass and put it down on the fireplace mantel. I caught a glimpse of Michael and myself in the mirror above the fire and felt trapped by how beautiful we looked in the rose glow of the dragon's-head lamps with pale pink bulbs.

IT POPS, A new discovery, by: Jonathan Roy Mckinney IT POPS is relative to space time in that it has two major components that follow the 3 laws of thermodynamics. The PIrandom creator injects an object with the relative XYZ coordinates in a model view projection that are derived by utilizing the correct Matrix math 11,10,10,10. Once Injected, the two way hash coin creator in time will create the entropy required to derive random shapes and reverse or abstract them into full objects for a complete wire frame like Michaelangelo could carve an Angel out of marble.

Today's marbles were then called,  ‘blorot'. It is possible that the source of this strange name came from the language spoken by the people of  Tiberias. The  blorot  was an entire world. There was no self-respecting child who did not have them in his possession. There were those who walked proudly with a fixed 'Rasiot'. The Rasiot was a special brand of  blorot,  usually larger, but what was important was that they were trusted by the user, who could rely upon them when shooting. The  blorot was in abundance and appeared in different forms, in different colors, and in different sizes. There were giants and small  blorots, there were those that were made of glass or ceramic. There were transparent  butterflies, some that were decorated in a way that only someone with a wild imagination could design. Every  blora was more beautiful than the other, but most beautiful of all, was no doubt the variety of games you could play with them.

When I was in high school, I read my first book about ancient Chinese philosophy. I do not remember the title or the author, but one of the proverbs always stuck with me. It went like this:      The uncarved marble is better than the statue.      It is all statues. That got me thinking. “All statues” is better than “one statue”, I had to agree. But the uncarved marble is only potentially all statues. It is actually none. It is not even potentially all, as though it could one day be all statues at once. It is potentially all only insofar as it is able to be carved into one statue and which statue it is to become has not yet been decided.

In a way, every game exists already. They’re out there, hidden in the logic of the universe. We don’t create them. We find them like a sculptor finds the statue in a block of marble — not by adding anything, but by taking away the excess material that obscures the form within.

Eggbeater Fun—Give your child an eggbeater to whip up soapsuds or mix up a bowl of birdseed, or of uncooked beans and rice. Marble Painting—Line a tray or cookie sheet with paper. Put a few dabs of finger paint in the center of the paper. Provide a marble to roll through the paint to make a design. Great wrapping paper! Ribbon Dancing—Attach ribbons, streamers, or scarves to the ends of a dowel. Holding the dowel with both hands, the child swirls the ribbons overhead, from side to side, and up and down. (No dowel? Give him a ribbon for each hand.) This activity also improves visual-motor coordination. Two-Sided Activities—Encourage the child to jump rope, swim, bike, hike, row, paddle, and do morning calisthenics.

Introducing Aros Haven: A Harmonious Blend of Opulence and Serenity at the Heart of Hinjewadi. Discover a new era of sophisticated living at Aros Haven, where luxury seamlessly intertwines with tranquility. Our meticulously crafted residential haven in the heart of Hinjewadi sets a fresh standard for refined living. Luxurious Living Spaces: Immerse yourself in elegance as you explore the internal specifications of Aros Haven. Boasting state-of-the-art home automation, designer washrooms, marble-finish vitrified flooring, granite kitchen platforms, and exquisite designer doors, every detail is curated to enhance your living experience.

a small-town ex-military compound. The house is large and expensive, with marble floors and crown molding—but it’s clearly designed to hold men. Lots of men. Everything large and solid. Very few women ever walk through these rooms. There are some women who work for North Security. My friend Laney’s mom is on the Red Team, for example. They’re rare. And when they do come around, they dress and act as tough as the men—tougher, because they need to be tougher to survive in what’s still mostly a man’s world.