DOCSLIB.ORG

The Art of Coconut Craft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Coconut Craft Coconut: The Art of Coconut Craft Vijaydatta Lotlikar (Master Craftsman) i Coconut: The Art of Coconut Craft © Vijaydatta Lotlikar 255/1, Arradi, Parra, Bardez, Goa Ph +91 832 2472067 M: +91-9423834208. Email [email protected] Released under the Creative Commons 3.0 license, non-commercial, attribution (except text copyrighted by others). May be reproduced for non-commercial purposes, with attribution. ISBN 978-81-905682-34 Published by Goa,1556, Saligão 403511 Goa, India. http://goa1556.goa-india.org, [email protected] +91-832-2409490. Goa 1556 is an alternative publishing venture, named after the accidental arrival of Asia’s first Gutenberg-inspired printing press here. Other publications: SONGS OF THE SURVIVORS (on Goans in Burma, Yvonne Vaz-Ezdani, ed, 2007), IN BLACK AND WHITE:INSIDERS’STORIES ABOUT THE PRESS IN GOA (2008), GIRLS IN GREEN (alumni writings from St Mary’s, Mapusa, 2008) and MEDIEVAL GOA (Dr. T. R. De Souza, 2009), ANOTHER GOA (Frederick Noronha, 2009) Cover design by Bina Nayak http://www.binanayak.com Illustrations2 by Mahesh Naik, Assonora Photographs from the2 collection of Vijaydatta Lotlikar and by Frederick2 Noronha Printed and bound in Byculla, Mumbai by Rama Harmalkar, 93261022252 Typeset using LYX, http://www.lyx.org Text set in Palatino, 11 point. Price: Rs. 195 in India. Overseas US$ 19.95 or Euro 13.95 The author acknowledges the receipt of a grant of Rs 25,000 from the Goa Government’s Directorate of Arts & Culture, under its Scheme To Provide Financial Assistance to Goan Authors and Publishers. Contents A thank you vii Preface: Coco matters xi A word in appreciation xv I EVERYTHING COCONUT 1 1 Coconut’s many uses 3 2 How others use coconuts 17 3 Terms from Goa 27 4 Goa’s toddy-tappers 37 II COCONUT CRAFT 41 5 What you can easily achieve 43 6 Getting started 49 7 Using the tools 53 8 Art of carving 63 9 Other techniques 67 10 Marketing 81 iii 11 Shell craft syllabus 85 12 Online craft links 89 III AN UNUSUAL MASTER-CRAFTSMAN 91 13 Calling coco shells 93 14 What the others say 97 15 An artist, his work 99 16 His world, a nut shell 101 17 Hobby to commerce 105 18 National awards 2008 109 Appendix: Coconut time line 111 To my father Parshuram Lotlikar, who left for his heavenly abode even while still in the midst of his mission of spreading his art of imitation jewellery. A thank you HIS BOOK WOULD have never happened without the encour- T agement and opportunities provided by so many people and friends who helped in making my dream come true. The dream of building my skills in a useful craft, and sharing it with others who could make use of it, and take it forward. Thanks go to all my loved ones and the organisations — gov- ernmental and non-governmental — that helped me move fur- ther along this engrossing journey. They all shaped my Kalpvrik- sha (the art of coconut craft) into a project which started from just one single coconut shell accidentally reaching my hands. To this day, their support has helped me to pursue my little dream that otherwise lay hidden deep in the recesses of my mind. I am particularly grateful to the management, headmistress and staff of St. Xavier’s High School in the scenic village of Moira, in Goa’s Bardez taluka, and my many students over the years too, for appreciating and encouraging my art. I would be failing if I didn’t acknowledge my gratitude, due in a significant way to the officers and staff of the Goa Government, specially its Handicraft Department and its Rural Development Agency (RDA), for inviting me to conduct several workshops and exhibitions that helped to reinforce my art and interest in this field. A special thanks to Padmanabh Lotlikar, for encouragement and help, given to organise an exhibition at the State Institute of Education in Alto Porvorim. Likewise, I would like to thank Roland Martins and Lillian Da Costa of the Goa Desc Resource Centre in Mapusa, for focussing on my work quite early on, encouraging me to put up a talk at their Friday Balcão series and reporting it on the Net. vii viii A THANK YOU My thanks to Mario Moraes for assisting me at workshops and exhibitions. To C.S. Radhakrishna, who helped me edit and plan an earlier version of the book. To Priya Bhivshet, the computer instructor at St Xavier’s High School in Moira, for compiling information that has gone into this work. Also, spe- cially to Frederick Noronha, who encouraged me to apply for the Directorate of Arts & Culture grant, and helped to put together this book on behalf of Goa,1556. Dr Nandkumar M. Kamat — microbiologist, environmental- ist and a Goa-ologist known for his encyclopedic knowledge on all things Goan — as expected, has done a great job in placing my humble work within the wider context of the relevance of the coconut in Goan history. His words in the preface are a valuable addition to this product and particularly encouraging to me. There are many sources of information, mostly online, which this book has depended on in a significant way. In particular, the Wikipedia, the collaboratively-crafted online encyclopedia, whose information on the coconut was most helpful. Books undeniably are our teachers and a source of knowledge and give us the opportunity to learn. This teaching I got freely from the Central Library in Panjim. Other sources have also been duly credited where ever possi- ble. In case of any oversight in crediting, kindly bring it to our attention, so amends may be made in a future edition. A thank you also goes out to journalist Agnelo Pereira and photographer Vincent Braganza, who enthusiastically and in- novatively lent their pen and camera respectively to appreciate my art, by reporting on my work through the local newspaper, Herald and the Times of India. My deep gratitude is indeed due to the editors of Tarun Bharat and Gomantak Times for giving wide coverage to my art, which resulted in drawing me further appreciation and encouragement from across Goa. My sincere thanks also goes out to Goa Doordarshan, the tele- vision station in Goa, for its audio-visual coverage of my work. The financial support from the Goa government’s Directorate of Arts & Culture made this book feasible; its officers and staff ix have always been cooperative and supportive. Printer Rama Harmalkar has been ever obliging in placing ink on paper and giving the shape to this final product. Bina Nayak, an artist educated at the prestigious Sir. J.J. College of Art, has come up with yet another of her innovative covers for my work. A deo borem korum to every one of the above, and also to all those who have helped me in any other way. Your help made my work possible. *** WORD ABOUT this book itself. For ease of reference and A absorption, I have divided its pages into three parts. The first gives relevant information on the coconut tree’s different parts and varied uses. The second part, the kernel of this book: it looks at coconut craft and my experiences in this field. Finally, the third section includes articles mainly written about me in the local media. I think these write-ups give an overview of what my work is all about, as portrayed to readers of these publications in Goa. I hope you find this book of some use, and benefit. I look forward to your feedback. Vijaydatta Lotlikar Parra, Goa October 2009 Kalpvriksha is a mythological, wish-fulfilling divine tree that is a common trope — expression used in a figurative sense — in Sanskrit literature from the earliest sources onwards. See Rig Veda (1.75; 17.26). Along with the kamadhenu, or the ‘wish-giving cow’, the kalpvriksha originated during the samudra manthan or “churning of the milk ocean”, and the king of the gods, Indra, returned with it to his paradise. http://en.wikipedia.org/wiki/Kalpavriksha Preface: Coco matters WAS BORN on a day considered auspicious in the Hindu al- I manac – Narali Poornima. It marks the end of the monsoons and the beginning of a new fishing season, and a huge number of coconuts are offered to the sea to appease it. Apart from my birth coinciding with a day known for its coconut ritual, there is another reason I can fully identify with this book, its theme and the artistic impulse of Vijaydatta Lotlikar. I happen to be a tall person; people in my village would compare me with the maad, the coconut tree. ‘Kitlo lamb re tu, samko maad kaso vadla mure!’ I often heard such ‘compliments’ as I walked along village roads. Being brought up in a village with a number of rolling co- conut palms on khazan bundhs (riverside protective walls), my encounter with coconut trees intensified from childhood to boy- hood. Finally it even assumed a certain spiritual dimension. And this is how.... Behind our old house at Bondir, Santa Cruz (Calapur), my father planted a coconut seedling (kavatho). I grew up with it: I used to talk to that tree with a degree of innocence. I would sit below it and read books while watching the crimson sun set behind Panjim’s Altinho hill. I penned poems under its gentle patronage. When it flowered after five years, we celebrated. When it produced the first bunch of coconuts, my father did not permit anyone of us to consume them. The first crop was offered to our family deity, Lord Ganesha of Khandola.
Load more

Recommended publications
  • Burning in Naval Stores Forest
    Proceedings: 3rd Tall Timbers Fire Ecology Conference 1964 Burning in Naval Stores Forest NORMAN R. HAWLEY Naval Stores Conservation Program U. S. Forest Service Valdosta, Georgia BEFORE discussing woods burning in naval stores, what is naval stores? First, be it understood that there are three fields within the activity, namely (1) wood distillation, or the process of obtaining the desired product from pine stumps; (2) the capture of tall oil in the sulfate pulping process, and (3) gum naval stores, or the harvesting of oleoresin or gum from standing, living pine trees, ob­ tained throughout a long working season of some seven months annually. Today, I shall discuss fire in its relation to the gum naval stores business. But first, how did the activity derive its odd name? There is cause for puzzlement. The story is told-with tongue in cheek-that a Secretary of the Navy, somewhat confused, but firm in his resolve to be prepared, declared: "I don't know what it is, but let's get some of it!" The term is a carry-over from the days of sail. Then the product was in prime demand. It caulked the hulls of wooden ships, and treated rigging against the erosive action of sun, rain, wind, ice, and salt water. How old is the business? We know that flammable gum featured heavily in the combustibles tossed around in ancient Mediterranean sea fights. Some writers speak with authority that it dates from the year 315 B. C. Others point to the Bible and quote from chapter and verse how Noah treated the hull of the Ark with derivatives from the 81 NORMAN R.
    [Show full text]
  • Tar and Turpentine
    ECONOMICHISTORY Tar and Turpentine BY BETTY JOYCE NASH Tarheels extract the South’s first industry turdy, towering, and fire-resistant longleaf pine trees covered 90 million coastal acres in colonial times, Sstretching some 150,000 square miles from Norfolk, Va., to Florida, and west along the Gulf Coast to Texas. Four hundred years later, a scant 3 percent of what was known as “the great piney woods” remains. The trees’ abundance grew the Southeast’s first major industry, one that served the world’s biggest fleet, the British Navy, with the naval stores essential to shipbuilding and maintenance. The pines yielded gum resin, rosin, pitch, tar, and turpentine. On oceangoing ships, pitch and tar Wilmington, N.C., was a hub for the naval stores industry. caulked seams, plugged leaks, and preserved ropes and This photograph depicts barrels at the Worth and Worth rosin yard and landing in 1873. rigging so they wouldn’t rot in the salty air. Nations depended on these goods. “Without them, and barrels in 1698. To stimulate naval stores production, in 1704 without access to the forests from which they came, a Britain offered the colonies an incentive, known as a bounty. nation’s military and commercial fleets were useless and its Parliament’s “Act for Encouraging the Importation of Naval ambitions fruitless,” author Lawrence Earley notes in his Stores from America” helped defray the eight-pounds- book Looking for Longleaf: The Rise and Fall of an American per-ton shipping cost at a rate of four pounds a ton on tar Forest. and pitch and three pounds on rosin and turpentine.
    [Show full text]
  • Watco® Lacquer Clear Wood Finish Is a Durable Lacquer Finish APPLICATION Designed for Spray Or Brush Application on Wood
    TECHNICAL DATA WAT-01 WATCO® LACQUER CLEAR WOOD FINISH DESCRIPTION AND USES PRODUCT APPLICATION (cont.) Watco® Lacquer Clear Wood Finish is a durable lacquer finish APPLICATION designed for spray or brush application on wood. It fills in the pores of most woods, eliminating the need for wood filler. It is Use adequate ventilation at all times. Do not apply in direct ideal for furniture, doors, cabinets and paneling. It is not sunlight. Apply only when the air and surface temperatures recommended for floors or exterior surfaces. are between 55-90°F (13-32°C) and the relative humidity is PRODUCTS below 85%. If applying over white or pastel paints or stains, test in an inconspicuous area before beginning. Testing is SKU SIZE DESCRIPTION important when applying over paints or stains as an undesired 63081 / 302656 Spray Gloss Clear appearance may occur when these products are topcoated 63041 / 303238 Quart Gloss Clear with a lacquer finish. 63031 Gallon Gloss Clear 33181 / 302657 Spray Semi-Gloss Clear BRUSH - Stir thoroughly before and during use. To prevent bubbles in the finish, DO NOT SHAKE, over brush, or apply 63141 Quart Semi-Gloss Clear with a roller. Apply using a good quality bristle brush or 63131 Gallon Semi-Gloss Clear applicator. Allow the finish to dry 2 hours and then recoat. 63281 / 302658 Spray Satin Clear Recoat only when the previous coat has dried clear and feels 62341 Quart Satin Clear hard. If any coat has dried more than 6 hours, lightly sand 6331 Gallon Satin Clear with 220 grit sandpaper before recoating to avoid brush 321534 Spray Matte Clear marks.
    [Show full text]
  • You Ever Wanted to Know About Varnish by Mary Kingslan Gibilisco
    All You Ever Wanted to Know About Varnish by Mary Kingslan Gibilisco This article originally appeared in the Decorative Painter. Shellac Shellac is a very widely used resin varnish that is alcohol The painting is finished and now it is time to varnish. This soluble. The source of shellac resin is a brittle or flaky secre- strikes terror in the heart of many painters as varnish is a tion of the female lac insect, Kerria lacca, found in the for- chemical process that can be difficult to control. Follow the ests of Assam and Thailand and harvested from the bark of guidelines outlined in the article and eliminate the fear of the trees where she deposits it to provide a sticky hold on the varnish! trunk. Shellac is the basis of French polish, which for centu- ries has been the preferred finish for fine furniture. What is varnish? Varnish is a transparent, hard, protective finish. After being applied, the ingredients in varnishes either harden either through evaporation or through chemical change. Resin var- nishes “dry” by evaporation of the solvent and harden al- Lacquer most immediately upon drying. Acrylic and waterborne var- nishes “dry” upon evaporation of the water but experience The word lacquer refers to quick-drying, solvent-based var- an extended curing period. Oil, polyurethane, and epoxy var- nishes or paints. Although their names may be similarly de- nishes remain liquid even after evaporation of the solvent rived, lacquer is not the same as shellac and is not dissolved but quickly begin to cure, undergoing successive stages from in alcohol.
    [Show full text]
  • EC Duro-Bond Rubber Sheet Linings Description
    EC Duro-Bond Rubber Sheet Linings Description Both Soft Natural Rubber and Hard Natural Rubber Linings are offered by Electro Chemical. Sheet thicknesses of 120 mils (2.3 mm), 150 mils (3.4 mm), and 180 mils (4.6 mm) are available. Soft Natural Rubber DURO-BOND S-123 is an uncured, soft three ply rubber sheet lining. The lining consists of a soft ply bonded to the substrate, a semi-hard center ply, and a soft natural outer ply. Hard Natural Rubber DURO-BOND SH-160 is an uncured, flexible, hard rubber sheet lining. It is a high grade, duplex rubber sheet lining consisting of a flexible ebonite semi-hard rubber layer backed with a thin layer of soft gum rubber. DURO-BOND SH-160CL is the same lining except that it is specifically formulated for chlorine service. Uses DURO-BOND S-123 Soft Natural Rubber is used as a general purpose lining material for resistance to chemical agents and abrasion. It is generally resistant to alkalis, numerous acidic and organic chemicals and inorganic salts, and is used for lining equipment such as steel tanks, agitated vessels, agitators and related process equipment. When resistance to a combination of high temperature conditions and abrasive situations is required, DURO-BOND S-123 proves to be quite useful. DURO-BOND SH-160 and SH-160CL Hard Natural Rubbers are used as a lining material when resistance to a wide variety of corrosive materials at continuous elevated temperatures is required. DURO-BOND SH-160 and DUROBOND SH-160CL resists the low concentration, high temperature conditions generally found in water treatment facilities and other chemical environments including pickling solutions and strong acids at high temperatures.
    [Show full text]
  • Finishing Techniques.Pdf
    Finishing Techniques Al Miotke Sept 8, 2020 Share your ideas Agenda 1. Preparing the surface 2. Types of Finishes 3. Goals of the final finish 4. Pro’s/Con’s of each finish option 5. Filling the grain 6. Finish the finish 7. Applying a Gloss finish Good Reference materials Three stages of finishing 1. Surface preparation 2. Selecting and applying the finish 3. Finishing the finish Select the best finish for each piece Surface Preparation 1. Cut as clean as possible. 2. Go thru the grits to at least 320 or 400. • Depends on type of wood and finish you plan to apply and sheen you want. 3. Sand with the grain with last grit. 4. Don’t overheat the wood. Keep speed low. 5. Don’t over sand especially on soft or open grain woods. What are the common Finishes? 1) Oil • Natural product extracted from walnut, linseed, Tung, soy bean, etc. • Polymerized oil is heated to about 500 degrees in absence of oxygen, dryers sometimes added. Goal is to dry faster • Provided a natural looking finish but limited protection 2) Shellac • Shellac is a resin secreted by the female lac bug on trees in the forests of India and Thailand. • Friction Polish – Shellac, Alcohol, Boiled Linseed Oil, Beeswax optional 3) Varnish • Synthetic product made by cooking a drying oil and add resin like urethane or Alkalyd. • Wiping Varnish – Varnish/thinner blend 4) Lacquer • Nitrocellulose lacquer is mostly solvent-based and comprised of plant-based substances like cotton, mixed nitric and sulfuric acids. 5) Wax • Beeswax, carnuba • Provides little protection but adds sheen and maintains natural color • Used as both a finish and a polish.
    [Show full text]
  • Color Chart.Pdf
    ® Finishing Products Division of RPM Wood Finishes Group Inc. Color Chart The Original Touch Up Company™ Made in the USA Color Chart ® Finishing Products Division of RPM Wood Finishes Group, Inc. Index Aerosols 1-5 Ultra® Classic Toner & Tone Finish Toner 1-3 Colored Lacquer Enamel 3-5 Shadow Toner 5 Touch-Up Markers/Pencils 5-15 Ultra® Mark Markers 5-9 3 in 1 Repair Stick 9 Pro-Mark® Markers 9-10 Quik-Tip™ Markers 10-11 Background Marker Touch-Up & Background Marker Glaze Hang-Up 11-13 Artisan Glaze Markers 13 Vinyl Marker Glaze Hang-Up 14 Brush Tip Graining Markers 14 Accent Pencils 15 Blend-Its 15 Fillers 15-29 Quick Fill® Burn-In Sticks 15-16 Edging/Low Heat Sticks 16 E-Z Flow™ Burn-In Sticks 16-17 PlaneStick® Burn-In Sticks 17-18 Fil-Stik® Putty Sticks 18-25 Hard Fill & Hard Fill Plus 25-27 PermaFill™ 27 Epoxy Putty Sticks 27-28 Patchal® Puttys 28-29 Knot Filler 29 Fil-O-Wood™ Wood Putty Tubes 29 Color Replacement 30-31 Blendal® Sticks 30 Sand Thru Sticks 30-31 Blendal® Powder Stains 31 Bronzing Powders 31 Dye Stains 32 Ultra® Penetrating & Architectural Ultra® Penetrating Stain 32 Dye Concentrate 32 Pigmented Stains 32-34 Wiping Wood™, Architectural Wiping Stain & Wiping Wood™ Stain Aerosols 32-33 Designer Series Stain, Designer Series Radiant Stain 33-34 Glazes 34 Finisher’s Glaze™ Glazing Stain & Aerosols 34 Break-A-Way™ Glaze & Aerosols 34 Leather Repair 35-37 E-Z Flow™ Leather Markers 35 Leather/Vinyl Markers 35 Leather/Vinyl Fil Sticks 35-36 Leather Repair Basecoat Aerosols 36 Leather Repair Toner Aerosols 36 Leather Repair Color Adjuster Aerosols 37 Touch Up Pigment 37 Leather Refinishing 37 Base Coat 37 NOTE: COLORS ARE APPROXIMATE REPRESENTATIONS OF ACTUAL COLORS USING MODERN PROCESS TECHNIQUES.
    [Show full text]
  • Gum Naval Stores: Turpentine and Rosin from Pine Resin
    - z NON-WOOD FORESTFOREST PRODUCTSPRODUCTS ~-> 2 Gum naval stores:stores: turpentine and rosinrosin from pinepine resinresin Food and Agriculture Organization of the Unaed Nations N\O\ON- -WOODWOOD FOREST FOREST PRODUCTSPRODUCTS 22 Gum navalnaval stores:stores: turpentine• and rosinrosin from pinepine resinresin J.J.W.J.J.W. Coppen andand G.A.G.A. HoneHone Mi(Mf' NANATURALTURAL RESRESOURCESOURCES INSTITUTEIN STITUTE FFOODOOD ANDAN D AGRICULTUREAGRIC ULTURE ORGANIZATIONORGANIZATION OFOF THETH E UNITEDUNITED NATIONSNATIONS Rome,Rome, 19951995 The designationsdesignations employedemployed andand thethe presentationpresentation of of materialmaterial inin thisthis publication do not imply the expression of any opinionopinion whatsoever onon thethe partpart ofof thethe FoodFood andand AgricultureAgriculture OrganizationOrganization ofof thethe UnitedUnited Nations concernconcerninging thethe legal status of any countrycountry,, territory, city or areaareaorofits or of its auauthorities,thorities, orconcerningor concerning the delimitationdelirnitation of itsits frontiers or boundaries.boundaries. M-37M-37 IISBNSBN 92-5-103684-5 AAllll rights reserved.reserved. No part of this publication may be reproduced, stored in a retrretrievalieval systemsystem,, oror transmitted inin any form or byby anyany means,means, electronic,electronic, mechanimechanicai,cal, photocphotocopyingopying oror otherwise, withoutwithout thethe prior permission ofof the copyright owner. AppApplicationslications forfor such permission,permission, with a statementstatement
    [Show full text]
  • Waterborne Lacquer
    Waterborne Lacquer The pinnacle of wood protection. Waterborne Lacquer Zenith™ Waterborne Lacquer is a third-generation waterborne coating designed for finishing fine woodwork. It has exceptional film clarity that retains the natural warmth and character desired by professional wood finishers. It has been formulated with proprietary resin technology to yield a finish that is superior in durability to conventional nitrocellulose finishes. Zenith Waterborne Lacquer is a low VOC, HAPS-free formulation that contains no isocyanate or formaldehyde. It is a coating that is not only beautiful and durable, but also reduces hazards to workers, consumers and the environment. ADVantagES USES Regulatory Zenith Waterborne Lacquer is ideal for • HAPS-free/Low VOC • Low Odor • Non-Flammable a broad range of products including: • Water Clean-up • Formaldehyde-free/Isocyanate-free fine residential furniture, millwork, Application moldings, interior doors, and picture • Improved Coverage – Requires less volume of product frames. The environmentally friendly per piece than traditional solvent-based coatings formula also yields a finish that is perfect • Very Limited Grain Raise for children’s furniture and consumers • Ready-to-Spray and Self-Sealing that are sensitive to harsh chemicals. • Fast Dry-to-Sand and Recoat (30 minutes) This product can be applied with the • Excellent Flow and Leveling following spray equipment: conventional, • Hybrid Solvent/Water Systems available HVLP, airless or air-assisted airless. It is Durability packaged ready-to-spray and requires no • 30% Weight Solids reduction before use. • Excellent UV Resistance • Non-yellowing • Superior Performance Compared to Conventional Nitrocellulose Finishes PERFORMANCE AND TESTING DATA Household Chemical Testing Hot/Cold Check Cycles Zenith Waterborne Lacquer has been laboratory tested with the following reagents to assure the The hot/cold check cycle determines highest performance standards: a coating’s tolerance to hot and cold temperature extremes.
    [Show full text]
  • SURROUNDED by PERFECTION Rich Architectural Details, Sculptural Furnishings and Vibrant Contemporary Artwork Define This Luxurious Oceanfront Penthouse in Palm Beach
    A painting by acclaimed artist Jamali provides a pop of color on a wall between the dining and living area. Here, a pair of white sofas and an armchair from Holly Hunt by Joseph Jeup, form a social grouping around a custom cocktail table by Rogers Design Group. SURROUNDED BY PERFECTION Rich Architectural Details, Sculptural Furnishings And Vibrant Contemporary Artwork Define This Luxurious Oceanfront Penthouse In Palm Beach INTERIOR DESIGN Lorraine Rogers-Bolton with Amanda Wyant Binns, Rogers Design Group, Palm Beach Gardens, FL BUILDER Bryan Willoughby, Willoughby Construction, Jupiter, FL LANDSCAPE ARCHITECTURE Krent Wieland, Krent Wieland Design, Delray Beach, FL TEXT Charlotte Safavi PHOTOGRAPHY Argonaut Architectural, Jupiter, FL 000 FLORIDA DESIGN VOL. 27 NO. 1 THOUGH IT WAS ONE of the last units to be acquired, this luxurious 27th-floor penthouse in a prestigious building in Palm Beach County, Fla., is by far one of the most spectacular condominiums Bryan Willoughby has ever built. “It’s hard to imagine it was just a raw space when we came on board in 2015,” says Willoughby, who first introduced the owners to interior designer Lorraine Rogers-Bolton. She was very excited to become an integral part of the design team. “We’re not just about furnishings and fixtures,” she says. “But also about selecting materials for the entire condo including the kitchen, wet bar and baths.” With water surrounding the 6,400-square-foot penthouse on three sides — the Atlantic Ocean to the East, the Intracoastal to the West and the Palm Beach inlet to the South — the home’s dazzling backdrop was true blue.
    [Show full text]
  • Eleventh Fao Round Table Meeting for Pacific Island Countries on Wto and Regional Trade Agreements and Provisions
    FAO, FFA, IFAD, Italian Government, New Zealand Government, PIFS, PITIC, SPC ELEVENTH FAO ROUND TABLE MEETING FOR PACIFIC ISLAND COUNTRIES ON WTO AND REGIONAL TRADE AGREEMENTS AND PROVISIONS Wellington, New Zealand, 15th - 19th September 2008 REPORT FAO Subregional Office for the Pacific Islands (SAP) Apia, Samoa October 2008 TABLE OF CONTENTS LIST OF ACRONYMS…………………………………………………………………5 OFFICAL OPENING…………………………………………………………………..8 PLENARY SESSIONS………………………………………………………………..10 SESSION 1: INTRODUCTION…………………………………………………10 SESSION 2: WTO DOHA ROUND NEGOTIATIONS………………………..10 Update of Negotiations on Agricultural and Non-Agricultural Products and Outlook for 2009…………………………………………………………....10 SESSION 3: WTO ACCESSION AND MEMBERSHIP…………………….....13 Panel Discussion on WTO Accession and Experiences of Membership………..13 Fiji……………………………………………………………………….13 Papua New Guinea………………………………………………………13 Solomon Islands…………………………………………………………13 Tonga…………………………………………………………………….14 Samoa……………………………………………………………………14 SESSION 4: REGIONAL TRADE AGREEMENTS……………………………19 Update on PICTA/PACER – Issues related to PICTA/EPA and RTAs…………19 Update on PICTA/PACER – Issues related to PACER………………………….21 SESSION 5: SOARING FOOD PRICES………………………………………...24 Perspectives of Soaring Food Prices: Causes, Impacts and Responses………….24 FAO Initiative on Soaring Food Prices (ISFP)…………………………………..30 FAO……………………………………………………………………...30 IFAD……………………………………………………………………..31 SESSION 6: CLIMATE CHANGE, BIOFUEL AND THE IMPACT ON FOOD AND AGRICULTURE………………………………………………..36 FAO High Level Conference
    [Show full text]
  • The Sama Sama Dining Experience
    The Sama Sama Dining Experience The meaning of Sama Sama is “you’re welcome” in the Indonesian language which denotes our acclaimed brand vision in tribute to the Indonesian culture of gratitude and hospitality. Our philosophy also revolves around the second meaning of Sama Sama which is the expression of “togetherness” – where we welcome both local and international guests to experience our modern yet contemporary setting with an expansive variety of delicious Indonesian recipe descended from all around the Nusantara and imbued with authenticity rich in its cultural heritage. Selamat Makan! www.sama-sama.sg Please be advised that in order to maintain the authenticity of the dishes, we do not allow any alterations made to our menu. Thank you for your understanding. 02 03 MAKANAN PEMBUKA Appetizer 01 Bakwan Udang 3 pieces 10.5 Three pieces of crispy deep-fried classic Indonesian vegetable fritters with tiger prawn served with fresh spicy green chilli padi — This variant of Bakwan is a modern iteration of our all-time favourite fried delicacy that was introduced to the Archipelago in the 15th century by Chinese settlers and traders. 02 Batagor 10.5 Sundanese style pan-fried tofu dumpling filled with blended minced fish and tender steamed chicken meat, served with peanut sauce, sweet soy sauce and baby kaffir lime — Abbreviated from Bakso Tahu Goreng, this savoury delicacy is made by the Peranakan inhabitants of Bandung. Introduced by Chinese settlers and traders in the 15th century — later evolved and integrated within local Sundanese cuisines. 03 Tahu Telor Surabaya 14.0 Surabaya-style deep-fried egg and tofu with potatoes, shredded carrot and cucumber, served with house-made Petis Udang peanut sauce — Popular throughout the Southeast Asian region, this variant of Tahu Telur hails from the East Javanese city of Surabaya and became well-loved by many across the Indonesian Archipelago.
    [Show full text]