home design/diy magazine

7/28/2019 Home Design/DIY Magazine

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Get ready forthe Holidays!

DIYDO IT YOURSELFDEC. 2012

EXCLUSIVEINTERVIEW:MICHAEL

MALTZMAN


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Toronto Food & Wine FairCelebrating 20 Years

Join us for food, drinks and livemusic! Pre-order your tickets

online today!

www.seetorontonow.com

CN Tower - 360 RestaurantDecember 14 & 15, 2012

From 4pm - 11pm


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contentsDECEMBER 2012

06 DIY CHRISTMAS TREE SET

This DIY Wooden Christmas Tree set will add some

fun and creativity to any table or shelf!

09 HOW TO MAKE: EGGNOG

12 INTERIOR DESIGN: 10 QUESTIONS

WITH MICHAEL MALTZMAN

An exclusive interview with the interior designer and

architect.

16 CHRISTMAS GIFT GUIDE

5 gifts that are perfect for everyone on your shoppinglist!

18 HOW TO: WRAP A PRESENT

One of the most important things when preparing for

Christmas - gift wrapping.

20 GET THE LOOK

Get inspired.

by Marc Gamboa

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Upgrade your life.


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Things are starting to get real

festive around these parts! Ifyoure looking for some fun

tabletop trees that lean a bit

towards the modern side, Ive

got just the project for you!

These wooden trees are super

easy to make and can be left

plain or customized to your

hearts content. Check em

out!

Materials:

(1) 6x36 sheet of Balsa wood

tree templates (create and print

out a big triangle and a little tri-

angle)

acrylic craft paint -- OR -- craft

glue and glitter

foam paint brush

painters tape

self-healing cutting mat

ruler

craft knife

1. Line the tree template up with the bottom of your sheet

of Balsa wood. With a ruler and craft knife, carefully cut

out your tree. Repeat and cut out a second tree triangle.

2. Measure and mark the center of your trees. I marked

mine just by poking it with the craft knife, so I wouldnt

leave any visible pencil or pen marks.

DIY: MAKE A WOODEN

CHRISTMAS TREE SET

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6. Brush on your paint (or clear craft glue if youre

going to be adding glitter -- once applied, sprinkle

on the sparkly stuff). Repeat steps 5 and 6 on the

other side.

3. From the center point, cut out and remove a piece

from the bottom of one tree and the top of the other.

You will want it to be as wide as your Balsa wood

is thick, i.e. my sheet of Balsa wood is 1/8 thick,

so thats how wide I made my slice. Save the little

scraps.

4. If youre not painting your trees, youre done! Sim-

ply slide the two halves together to assemble. If you

want to add a little more oomph to your trees, read

on...

5. Tape off your desired design.

7. Remove the tape and rest your freshly painted

trees on those little scrap pieces for drying. Repeat

steps one to seven for each tree you want to make.

8. Once dry, assemble your trees by sliding the

grooves together. And thats it! Youre done!

HAPPY HOLIDAYS!7


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The online pinboard.Sign up today and get some pinspiration!


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how to make:eggnog

Standard homemade eggnog is made by rstmaking a cooked-custard base of cream(or half-and-half) and egg yolks. Just beforeserving, egg whites and sugar are whipped

until stiff and folded into the chilled custard for alight, frothy texture. Though Ive eaten enough rawcookie batter for my unlucky salmonella card to bepulled, Ive managed to escape it and Id rathernot push my luck with a recipe that requires raweggsIll bypass the whipped whites in my nog.

Begin with separating 12 cold eggs. Though youll need to

bring the yolks to room temperature, chilled eggs are much

easier to separate. Reserve the whites for another use, such asseven-minute frosting or meringue cookies.

Pull out a stand mixer and t it with the whisk attachment, and

whip the room temperature yolks at a fairly high speed. A light

eggnog begins with incorporating air into the egg yolks. Youll

know theyre aerated when theyve thickened and become lighter

in color.

Now the yolks have developed enough structure to support the

heavy granulated sugar. With the mixer running, slowly add the

sugar over the course of a couple of minutes. This gradual addi-tion ensures that the yolks wont deate and that the sugar will be

completely dissolved.

Once the sugar is fully incorporated the mixture will be nearlywhite and glossy and will hold a ribbon-like outline for several

seconds when drizzled back and forth in the bowl.

If possible, transfer the hot dairy to a large liquid measuring cup.The pourable spout will make the next steptempering the egg

yolksmuch easier. With the mixer running, slowly add the dairy

to the reserved yolk-sugar mixture. Its important that the motion

of the whisk is continuous and that the stream of dairy is gradual toensure that the egg proteins dont scramble. Also, all of this whip-

ping will add much needed lightness to the nal eggnog since you

wont be folding in raw whipped egg whites.

Though the hot dairy has nearly heated the egg yolks to a safe 160 temperatures, it isnt quite there. Transfer the mixture to the now-

empty pot and return it to heat. Once the custard mixture hits this mark, remove it from the heat.

Adding the bourbon (my preference) to the custard mixture just before serving the nog will leave you breathing re, while adding it

on the heat will dull its smoky burn a bit too much. Stirring it in just off the heat strikes the perfect balance.

Much like the bourbon, the nutmeg and vanilla will be too muted when added on the heat, so stir them in after the alcohol.

Fill a large bowl with ice and cover it with another large bowl, making sure the top bowl is resting on the ice.

Add the eggnog to the top bowl of the ice bath and, stirring occasionally, cool it for about 10 minutes. Next, refrigerate it until chilled,

about 1 hours.

A nal hit of freshly grated nutmeg is the last touch to this light eggnog. Can you blame me for wanting to enjoy this year round?

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INTERIOR

DESIGN

10 QUESTIONS WITHMICHAEL MALTZMAN

Michael Maltzman, FAIA, Founder and Principal, Michael Maltzman Architecture. Photo by Monica Nowens.

One of our industrys mostinuential and highlypraised innovators, Mi-chael Maltzman of Mi-

chael Maltzman Architecture hasbuilt his practice around the ideaof architecture as a cultural inu-encer. A sought-after internationallecturer whose work has been ex-hibited at everywhere from MoMAto Cooper-Hewitt Design Museumto the Venice Biennale, Maltz-

mans past successes includeMoMA QNS, the UCLA HammerMuseums Billy Wilder Theater andCaf, Playa Vista Park, LAs Pig-gyback Yard Collaborative, anda host of residential and culturalprojects regarded the world over.Here, Michael shares his thoughtson mentoring, creative dialogue,and the buildings that changedhis eye.

Bridge in LA. Were also just about toget going on a residential building atthe U.S. embassy in Paris. Its not anenormous project, yet means a lot toour practice.

ID: Paris is such hallowed ground for

the design and architecture world.

How do you feel about working

there?

MM: As an American, Im fascinatedthat over the past 250 years there are

ideas - both of landscape and building- characterized and related to ideasthat began in France. Part of our ap-proach is to understand where thoserelationships are. This is a buildingproject, yet the street landscapes areincredibly characteristic. One of ourresponsibilities is to be very consciousthat we have a great deal to continueto understand about the specics ofthat place.

Interior Design: Michael, your compa-

nys based out of Los Angeles. What

makes LA such a great town for ar-chitecture?

Michael Maltzman: I think its alwaysbeen - and continues to be - a greatplace to make things, which is an in-creasingly rare quality for many plac-es. American cities, especially. Its aculture that supports, is excited by, andexpects new things to emerge.

ID: What are the big projects keepingyou busy and stimulated at the mo-

ment?

MM: One of the ambitions of this prac-tice and this ofce is to have a diverserange of projects, both large and small.Currently were working on a masterplan for the Arts Center campus... Wejust received word that weve won acompetition for the new Sixth Street

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Clients reectculture, in that same

way that architecturereects society. Inmy experience, I

nd that there arealways clients who

are deeply interestedin making somethingof real consequence,

and excited by thechallenge of buildings

that contribute toculture.

ID: For this project - or for any new

project - how do you encour-

age creative dialogue among your

team?

MM: One of the most important things,before we even start, is to make ideaspossible. In our ofce, the evolution ofideas - at an ambitious level - are anexpectation, not a luxury. Each proj-ect is approached by really trying tond something that sets off that rstidea. This can come from anyplace -from context, from a painting I mightsee, from a cultural idea - and thenwe have an open forum. Thats all weneed at rst, and from there it turnsinto an intuitive process. We employa 3-D model to look at the unique po-tential of a project.ID: What clients make your work

feel the most satisfying?MM: I always hope that clients nd astrong level of engagement with theproject. An ideal client for me is veryinvolved, has an opinion, and chal-lenges us at each stage of the proj-ect. We want clients to be specicabout their needs, yet remain open tohaving a real conversation about thework... what its trying to do and whatits larger ambitions are.

ID: How knowledgeable are your

clients about design principlesthese days?

ID: How focused are emerging tal-

ent in the architecture and design

world? Does anyone catch your

eye with what theyre introducingto the industry?

MM: Im deeply interested in artand artists, and the way that theyinterpret our world. Im particularlyfocused there, looking for waysto view my world through a differ-ent lens. I dont know how you cankeep a practice lively and critical ifyou dont constantly keep your eyeson whats happening outside of ourworld. The moment you start usingyour own work as inspiration, youvestopped growing.

ID: As the US works its way out

of the recession, are you seeingrenewed interest in construction

and development?MM: It feels that way, though thatis completely anecdotal. I have nohard data. Weve been fortunatebecause weve been getting consis-tent new projects from different sec-tors of the economy. If nothing else,Im noticing that the level of anxietyabout projects is starting to subsidea bit.


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ID: How do you feel about sustainability?MM: The idea of buildings relationship to the en-vironment is not a new idea. We can nd thoseconcerns and ideas all the way back through thehistory of building. Our culture is more immedi-ately focused on it-it being an urgent question-yetlike a lot of topical issues, it has been often dealtwith in supercial ways. What were seeing now,

after that rst rush, is a much deeper, consequen-tial question of what sustainability means. Its notabout how we become sustainable in the quickestway. Its about how to contribute to a sustained,developing culture.

ID: Is there any particular structure that youvealways felt has achieved this, and perhaps has

served as a source of inspiration to you?

MM: San Carlo alle Quattro Fontana, Borrominissmall church in Rome. Its a city I have alwaysbeen ambivalent and suspicious about as an ar-chitect, but that building has continued to endure

for me, from the rst moment I saw images andplans of it. Ive gone back to visit it so many time,and its a real resonant place for me. It speaks tothe spirit and energy level that architecture canachieve.

ID: And how key would you say the mentoring

process in the cultivation of new ideas?

MM: This is something at the core of the disci-pline of architecture as opposed to the businessof architecture. Architecture tends to be a longerworking life than many other professions. Be-cause of that, within its culture theres this tradi-

tion of learning from people ahead of you. Thisis how new ideas are developed and ethics arepassed on. Some of that happens in schools, anda large part of that happens in studios and ofces.Its written very deeply into how we think aboutourselves as architects.

ID: Is there an early moment-perhaps as a

young man, or early in your career-when you

found yourself truly engaged in great design?

MM: I think Ive always been aware of the thingsaround me, whether they were objects or theenvironment, but I do recall the moment when Iunderstood that I had a relationship to an idea

about design. I was in undergraduate school asRISD, walking down Benet Street. Its a primar-ily 19th Century street in Collegeville, Providence,lined with colonial and federalist houses, all witha very classical front door. I was halfway downthe street, thinking about each of those doors andwhat the builder had wanted by designing thosedoors differently. It was incredibly exciting andterrifying, because at that moment I had crosseda threshold and I would never see the world thesame way again.

http://www.interiordesign.net/article/557710-10_Questions_

with_Michael_Maltzman.php

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ChristmasGift Guide: 5 Great Gifts

for Everyone On Your List

Need to get someone a gift that you don't know that well? Those can be the toughest of the season.So, we created this gift guide to help you through the land of awesome gifts (under $50) that anyonewill love. Pinkie swear.

1. Unisex Scarf - American Ap-parel ($28)

This is probably the best and safest

gift to give anyone. Fashionableand practical.

2. Sea Salt Caramel - Terrain ($8)

Food is also a great gift to give.

Especially for guys! Everyone loves

a sweet treat and these sea salt

caramels are perfect.

3. Cast Stone Planter, Basil - Ter-rain ($18)

This is a cute gift for anyone who

loves gardening or nature. This cute

basil plant is placed in a unique

stone planter!

4. Worlds Greatest Mug Set -Felt & Wire Shop ($25)

A practical gift that you can give

anyone. This present also adds a

bit of humor and will bring a smile

to anyones face! Theyll definitely

love receiving the greatest mug inthe world!

5. Natural Soy Candle, Fir andBlue Sage - Etsy ($7)

Everyone loves their home. Help

someone make it smell good with

this natural soy candle. This won-derful smelling candle is all natural

so it is environmentally friendly.

by Brittni Mehlhoff

Read the full article and nd

more great gift ideas!

http://www.curbly.com/users/

brittnimehlhoff/posts/14387-gift-

guide-20-great-gifts-for-anyone-

on-your-list-under-50

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Christmas Made Easy

How to: Wrap a presentAre you one of those people who nd the perfect gift but can never get the wrapping right? Follow the

easy method for wrapping a large box thats shown in this video and your next present will look as prettyas whats inside.

1. Gather wrappingmaterials

Assemble your present, thewrapping paper, scissors, andtape, and then clear a large,at surface such as akitchen table.

2. Secure fragile items

Make sure that anything fragilewithin your box is wrapped se-curely and wont move aroundor become damaged.

Tip: Use a small piece of tapeto keep the box closed.

3. Measure

Roll out your wrapping paperbut dont cut it yet. Place thebox in the center of the un-furled paper, upside down, sothe seams of the paper will endup on the bottom of the pack-age. Bring the paper up oneside and over the top of thebox, all the way to the oppositeedge. Estimating how muchadditional paper youll need tocover the side of the box thatsnot yet covered, cut the paper.

4. Secure the paper to thebox with tape

Center the box on the paper.Bring one side of the paper upthe side and halfway across thetop, afxing it to the box with apiece of tape.

5. Fold the other side for acleaner edge

Before bringing the secondside of paper up and over therst, create a clean seam byfolding over the last half-inchor so of the paper, using yourngers to create a tight crease.Now bring this side up so it

just overlaps the rst one andafx with tape.

6. Fold the paper on eachside of the present

Starting on one end, fold downthe top ap onto the side ofthe box, creating two littlewings at the side. Flatten thosein against the box, then foldthe remaining triangle of paperup against the box. Fasten it inplace with tape.

7. Stand the box up andrepeat folding to the otherside

Set your box on end, with theside you just worked on facingdown, and repeat step 6 onthe opposite end.

8. Add fnishing touches

Add any ribbon or decorativebows to your gift.

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SEW MUCH MORE THAN A FABRIC STORE!

FABRICLAND


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Cabinets - IKEA ($30)

Decorative Bowl -Bombay ($12)

Pillows - The Bay ($9 e


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Sofa - Sears ($159)

Magazine Holders -RONA ($4 each)


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Sofa - IKEA ($299)

Side Table - Bombay ($75)

Frames -

Michaels Craft Store ($6 each)


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Table - Bombay ($59)

Orchid & Pot - Sherway

Gardens ($24)Dining Set - Walmart ($358)


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