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Koreatown, L. A. Four miles SSW from the iconic Hollywood sign and just about the physical center of the City of Angels is Koreatown. Koreatown has the largest South Korean population outside of the country itself. With such a high concentration of these richly cultured peoples came many korean style restaurants and other eateries. Though in recent years Koreatown’s Korean population has declined to about 30% of the total population, it is still considered the prime place to enjoy a good dim sum or kimchi.

There is a little more than a thousand Korean owned businesses in K-Town and a very good majority of those are eateries. Being known for its nightlife, most of K-Town’s eateries are bars and norebangs (karaoki rooms). “A night out in what insiders call K-Town might begin with dinner or warm-up drinks and nibbling at a stylish cafe with giant video screens, then proceed to dancing at an exclusive nightclub or singing at a karaoke ”music studio” until dawn” (Navarro).

Singing in norebangs is a widely appreciated pass-time in the Korean community and is usually accompanied with alcohol and appetizers. This pass-time is never done alone and it is usually done in large groups for any occasion. The alcohol of choice being makgeolli, a fermented rice wine, is usually associated with the cooking and munching of small strips of sweet and crispy pork belly. Small groups of people can be seen around a table drinking, cooking the snack and conversing.

Another widely appreciated restaurant type brought over from the Koreas, is the Korean BBQ. Essentially, it is a cook-it-yourself restaurant; the cooks prepare the dishes to be cooked and then hand them out to the customer to be cooked right at their own grill in the middle of the table. This allows the customer to cook the meat to their desired taste and gives more time to converse. Interestingly, it doesn’t have to be eaten with a utensil; usually there would be a plate of large lettuce leaves.

It is very common to tear off a piece of the leaf and cup it in one hand while the other picks up a piece of meat with chopsticks and puts it on the leaf. If there is anything else to put on it, like a slice of mushroom, it is put on top, the leaf is rolled up and popped in the mouth. The most popular food in Korean culture is kimchi. It is made primarily from fermented napa cabbage, spicy red pepper powder, and various other vegetables and spices. In most asian cultures, there are many parts to a meal; kimchi is usually a side-dish.

The ingredients are quite cheap and the recipe is easy to follow. In low-income families, kimchi is a larger part of the meal. It is the perfect food for these families because it can easily be made in bulk and it can be kept for up to a month in the refrigerator. Kimchi is a staple of Korean society. Korea brought over a very cultured people that are very family and food involved. Food is a very important part of the Korean culture and community as a whole. Work Cited Navarro, Mireya. “It’s Koreatown, Jake. ” The New York Times. The New York Times, 08 Aug. 2004. Web. 3 Nov. 2012.

1 BatHroom projects Bathroom-Tile Design By Lynn Hopkins W alk into a tile showroom, and you may be overwhelmed by the sheer number of colors, materials, finishes, and sizes available. The best way to keep your wits about you is to develop a strategy beforehand for the style of bathroom you plan to create. This plan will help to guide tile selection and installation. Before going to the store, think about the character of your new bath. Are you interested in a traditional bathroom with historical references, something with fixtures and finishes that remind you of an earlier time? Or are you dreaming of something more sleek and modern?

Regardless of the style of bathroom you choose, designing a tile installation requires forethought. The accompanying drawings illustrate key areas to consider when developing a tile design and show how the traditional or modern character of the room might influence tile selection and layout. As part of the planning process, I recommend making detailed drawings that show which tiles go where on both the floor and the walls. An accurate, scaled sketch of a section of wall and floor, plus any special corner conditions, makes it much easier to order, lay out, and correctly install the tile.

Start by Planning the Walls There are three standard heights to consider when tiling a bathroom wall: wainscot height, shower height, and full-wall height. You may use one, two, or all three of these heights in a single bathroom, depending on the look you are trying to achieve and on your budget. Because tiled walls are more expensive than wallboard, tile often is used only where it is needed most: on the lower portion of the wall that requires water protection. This wainscot is usually between 36 in. and 42 in. tall, enough to provide a backsplash of 4 in. or so above the sink.

Tile protects the walls below towel bars from wet towels, and the walls around the toilet from the spray of rambunctious kids. Tiling to wainscot height may be adequate protection around tubs without showers as most splashes occur below this line. In a shower area, however, all enclosure walls should be tiled high enough to protect the walls from water spray, at least 72 in. and preferably to the ceiling. 78 Details for a Traditional Bathroom 3-in. by 6-in. brick tiles 1-in. by 6-in. color band Fixtures are centered on tile layout. 1 Shower enclosure is tiled to at least 72 in.

At least 4 in. 36 in. to 42 in. Bullnose tiles 2 Border tiles define limits of the room. 6-in. by 6-in. tiles 1. TURNING CORNERS Profiled edge tiles 2. INSIDE CORNERS A bathroom with traditional characteristics has plumbing fixtures that take their styling cues from an earlier era, generally the 1920s or 1930s. The tile should reinforce these historical references. Small wall tiles, such as 3 in. by 6 in. , 4 in. by 4 in. , and even smaller mosaics, were typical in the old days, in part because the adhesive available could not support tiles that were much larger and heavier than 6 in. q. Traditional styles often celebrate the edges where tile meets wall or where wall meets floor with a border or fancy molding profile. Borders run around the perimeter of the floor and/or walls, defining the limits of the room. Bathroom-Tile Design 79 Choose the Right Tile Tiles finished on only the front face are called field tiles. When installed, they are butted next to each other with grout filling the spaces in between. Wherever wall tile stops short of the ceiling, field tiles should not be installed on the top row because the raw, unfinished edge of the tiles will be exposed.

For these locations, use tile with at least one finished edge. Typically, the finished edge is a rounded bullnose shape that makes an elegant transition from tile to wall surface. In bathrooms with traditional styling, this transitional edge frequently is celebrated with a decorative border that intro- duces a band of color, a pattern, a texture, or a special profile (see the drawings on p. 79). Borders Create a Transition Although a decorative border is a great way to handle the tile-to-wall transition, you’ll need to consider how to handle the border when the tile goes from a lower to a taller height.

In a traditionally styled bath, I prefer to turn the edging and keep the border moving up, over, and down again, using mitered corners at each turn. I find that a miter creates a crisp, clean look and allows the flexi- Details for a Modern Bathroom The details in a modern room imply expansiveness and continuity. Tile frequently runs continuously from floor to ceiling or from corner to corner. Borders like those found in a traditional bath are seldom used because they would feel constrictive. Luxurious materials, such as stone, are treated simply so that nothing competes with or detracts from the beauty of the aterial itself. Modern designs often use larger tiles—8 in. by 8 in. , 6 in. by 12 in. , 12 in. by 12 in. , or 16 in. by 16 in. —because they feel more expansive. Visual interest comes from the use of multiple materials, patterns, textures, and plane changes. In this example, the height change at the shower area is emphasized with a bump-out separating the plumbing wall into two different planes. Within the shower, 12-in. by 12-in. stone tiles run floor to ceiling. The side edges of the stone tile are mitered to finish the outside corner. Outside the shower, 6-in. by 12-in. ceramic tiles are used on the walls.

The running-bond pattern helps to tie the different materials together. 12-in. by 12-in. stone tiles Running-bond pattern is an easy, inexpensive way to add visual interest. Bump-out, 2 in. minimum 6-in. by 12-in. ceramic tiles 3 3. ChaNGING plaNES Room feels more expansive with large floor tiles. Inside corner marks transition from large shower tiles to smaller wall tiles. Mitered outside corner 80 Bathroom Projects bility to use border designs without a special corner tile (see the inset drawing on p. 79). Other areas that demand careful planning are corner borders at wall intersections.

If your bath has only inside corners, you will need tiles that are finished only on the face and one edge. Outside corners—those that project into the room—require tiles finished on the face, the top, and one side. If you use tile with a profile, you’ll need a special outside-corner tile. Not all tile manufacturers or lines include these special pieces. The baseboard area, at the junction of wall and floor, is another opportunity for a decorative border. If you used a color band at the top of the tiled wall, a second band of color would work well at the bottom. If not, consider a base tile that is taller than the wainscot tiles.

You can choose base tiles with a profile that incorporates a radius to meet the floor tiles. cutting the tiles around the perimeter to fit. These guidelines recommend centering the pattern on either a tile or a grout line, depending on which choice results in the largest tiles around the edges of the room. This is a good place to start, but you may want to adjust your design in response to other features in the room. One of the typical ways your eye determines whether a pattern is centered is by comparing the end tiles: If the tiles on each end are equal in size, you assume the pattern is centered.

However, if your eye cannot easily compare the end tiles to each other, you’ll look for other cues, such as alignment. Sometimes, especially in large rooms, it is preferable to center tiles along lines of sight or movement. By following this strategy, the tile pattern is centered on the person using the bathroom. Tiles centered on the entry door are centered on the person who walks through that door; wall tiles centered on the sink and on the mirror above are centered on the person looking in that mirror. Tiles centered on the showerhead and control valves also are centered on the person using the shower.

If tile has been centered on the key sink and shower walls, the layout frequently is mirrored on the opposite wall. Centering tile on the sink and the shower controls may be difficult if the sink and the shower are on the same continuous wall; but this design should be possible if the distance between the centerline of the shower or tub fittings and the sink is a multiple of the tile size. Mark out the tile design before any rough plumbing work is done; then adjust fixture placements as required for the most attractive finished room.

Alignment and centering of fixtures, tiles, and sightlines reinforces the organizing principles of the design. People subconsciously find that reinforcement reassuring and, consequently, attractive. Lynn Hopkins (www. lhopkinsarch. com), an architect specializing in residential design, is based in Lexington, Massachusetts. Floor Tiles Take a Cue From the Walls Floor tiles need to be more durable and slipresistant than wall tiles, so be sure to select a type intended for floor installation. The safety and durability characteristics of floor tiles may give them a different look than that of wall tiles.

To tie the two surfaces together visually, use the same color, texture, pattern, or other design feature from the walls in the flooring. In a traditional bath, for instance, you might use a border of the same color on the walls and the floor. Another strategy is a floor patterned with a mix of small and large tiles, where the color of the small tiles matches that of the wall tile. Smaller tiles result in more grout lines, which give the floor more texture and make it less slippery. The additional grout is more susceptible to dirt and mildew, however. Center Tile Layout on Entries and Fixtures

Many tile-layout guidelines suggest positioning the layout on the center of the room and Bathroom-Tile Design 81 1 BatHroom projects Details from Great Bathrooms Benches, shelves, and hooks. Don’t overlook the convenience of a small bench where you can sit and shave, shelves that can hold soap and shampoo, and some open wall space for towel hooks and bars. 82 Tile put to good use. Variations in tile size highlight architectural details, while glassblock tiles let in plenty of light. Bold and beautiful. the play of light and color in this bathroom isn’t an accident. t’s what happens when an architect plans a bathroom remodel with an artist. Details from Great Bathrooms 83 accentuate the positive. Large, rectangular porcelain tiles installed vertically draw attention to the shower’s high ceiling while the mosaic-tile floor provides plenty of traction. liven up a bland room. Blue and white mosaics splash color across the sink wall in this st. paul, minnesota, remodel. Color coordination. staying in the same color family ties together the mosaic pebble floor and the wall of sleek subway tiles. Updating a tradition.

Designed to capture the calm richness of traditional japanese architecture but with a modern focus, this bathroom was created with wall and shower tiles by casalgrande padana and custom-cut slate floor tiles. 84 Bathroom Projects Balancing the budget. saving on white ceramic floor and wall tile freed up money for the aquacolored glass mosaic wall tile. let loose. a child’s bathroom is a great place to have fun with tile. this bathroom features a whimsical countertop of brightly colored tile. Use tile to differentiate. on the floor, a switch from 13-in. eramic tile to 2-in. tile (by cerim ceramiche) distinguishes the shower from the dry part of the room. on the walls, a mosaic strip (by ceramica tres estilos) adds zip. Details from Great Bathrooms 85 2 KITChen projeCTs Putting Tile to Work in the Kitchen by Lane Meehan O ur black Lab, Bogey, is a walking mud factory and sheds so much that for tile are granite, marble, and limestone, with granite being the hardest. Stone in its natural state is porous, so wherever it’s used in a kitchen, it must be sealed to resist staining and discoloration.

Stone tile has color all the way through, so deep scratches won’t expose a different base color. However, a highly polished surface on a stone tile seems to accentuate even the smallest scratches. Stone can be installed on floors, countertops or backsplashes; however, it does tend to be a high-maintenance product. On the other hand, ceramic tile is made from clay rolled flat and either sun-baked or fired in a kiln. There are hundreds of different clays, each with its own characteristics that can vary the tile’s performance. Color is applied to ceramic tile in the form of baked-on glazes that also seal the tile.

In the past, ceramic-tile finishes had problems standing up to heavy use and abuse, but with recent technical advances, ceramic tile now performs better than it used to. With most ceramic tile, the color is he should be bald. When it came time to choose tile for our kitchen floor, we looked for tile that would help disguise evidence of Bogey and our three active boys. We chose a tile that looks like stone but in a color and finish that could hide dirt and dog hair until I had a spare moment to run the vacuum. Our choice was based primarily on ease of maintenance, just one consideration when choosing kitchen tile.

As a tile-store owner with a background in design, I field questions all the time about incorporating tile into clients’ kitchens. This chapter addresses the questions I am asked most frequently. What Types of Tile Can I Choose From? The two most basic categories of tile are stone and ceramic. Stone tile is a natural product, mined or quarried directly from the earth. The three most common stones used 86 Tile outlines and defines kitchen spaces. a tile border gives the island in this kitchen, designed by Tim Quigley of Minneapolis, its own separate visual space. The backsplash behind the stove forms a functional accent.

Putting Tile to Work in the Kitchen 87 just on the surface, so deep scratches expose the clay below. Porcelain is another manmade tile product. Porcelain is much denser than ordinary ceramic, making it harder to scratch and break. But as with stone, the shinier the surface of ceramic or porcelain, the more scratches will show. So I try not to use highgloss tiles anywhere in a kitchen except on backsplashes, areas that are less susceptible to scratching. In the past, porcelain has been more expensive than ceramic, but improvements in technology have reduced the price.

Beyond the amount of gloss, tile finishes can vary greatly. Tile finishes are graded by their ability to resist wear due to traffic; a light-industrial tile has a higher durability rating than most residential-grade tiles. Industrial-rated tile is a bit more expensive, but the extra cost makes sense if your kitchen resembles a freeway. In addition to a durability rating, the Tile Council of America (see “Sources” on p. 94) gives tile a coefficient of friction (COF) rating, which indicates how slippery the surface will be underfoot.

But if the tile feels too smooth or too slick to the touch, it will probably be too slippery to use on the floor. How Do Lifestyle and Lighting Affect Choices? The first thing I ask clients about is their family, their lifestyle, and the way their kitchen is going to be used. For example, for a client who has a large family or who does a lot of entertaining, the kitchen is a busy hub with a casual atmosphere. For this kitchen, I might suggest warm-colored tile with perhaps a softer stone look. After the client’s lifestyle, I look at the type of lighting in the kitchen.

If it is blessed with a great deal of natural light from windows or skylights, tumbled marble tile or tile with a matte finish will absorb light and create a softer look (see the photo on p. 90). A textured surface on the tile softens the effect even further. On the other hand, tile with a glossy finish reflects light and helps brighten areas of a kitchen that are dimly lighted or that receive little or no natural light. Remember that glossy tile used in a kitchen with a lot of light, either natural or artificial, requires more frequent cleaning because fingerprints and water spots tend to show up more.

When choosing tile, I also look at the color and finish of the cabinets and countertops. If the counters and cabinets have a matte or satin finish, then I try to keep the same feel in the floors and the backsplash. By the same token, if the kitchen has the Tile Offers Almost Endless Options Multipurpose porcelain Ceramic wall tile with blue crackle glaze Commercial ceramic wall tile Rosso-Verona tumbled marble Handmade glazed wall tile Handmade sanded floor tile Porcelain floor tile Limestone tile Stone look-alike ceramic tile Marble floor or wall tile 88 Kitchen Projects Ceramic Tile: Porcelain vs. Nonporcelain l tiles made of clay and cured by heat are ceramic tiles. However, ceramic tile is best understood by dividing it into two product classifications: porcelain and nonporcelain. Their availability and look are roughly the same, but their durability is not. Thanks to a balance in the market, porcelain tiles can now be had at nearly the same price as nonporcelain products. a when the tiles are glazed. Also, when some porcelain tiles are glazed, they are no longer guaranteed to be frostproof. nonporcelain tile is easier to work with Nonporcelain tiles are made primarily of clay mixed with minerals and water.

The material is then fired to solidify the tiles into a bisque form. This process creates tile that isn’t as hard as porcelain, so it can be worked more easily with basic snap cutters and nippers instead of a wet saw. In most cases, a sealer and a glaze are applied to the surface of nonporcelain tile to create color and texture before the tile receives a second firing. The glaze applied to nonporcelain tile can make it extremely durable, but never as durable as porcelain. Nonporcelain tile’s main weakness is that it has a water-absorption rate of greater than 0. %. As a result, the tile doesn’t perform nearly as well as unglazed porcelain tile in outdoor freeze/thaw environments. porcelain tile is more durable Porcelain tiles are created by mixing porcelain clay and very finely ground sand, and curing them with high heat and pressure. Porcelain tile is denser and harder than nonporcelain tile and has a lower water-absorption rate of 0. 5% or less. Porcelain’s density makes it highly resistant to physical damage, while its low absorption rate makes the tile frost resistant, allowing it to be used outdoors.

Unglazed porcelain tile is sought after for its full-body characteristics, which means its color remains consistent throughout the tile. Surface scratches and damage are less noticeable as a result, a benefit that diminishes The top choice when strength matters most. although nonporcelain tiles can be quite durable, none are as resilient as porcelain. Buy what looks good. even though damage to nonporcelain tiles is more noticeable than with some porcelain tile, they can be purchased in grades that are perfectly suited for high-contact areas like kitchen counters and floors. Putting Tile to Work in the Kitchen 89

Tile can act as a dimmer switch. This kitchen gets lots of light from two sides. The natural colors and matte finish of the tumbled-marble countertop and backsplash help soften the light and cut down on glare in a kitchen with a lot of windows. polished, streamlined look of many contemporary kitchens, I suggest a straightforward tile pattern with a glossy finish. Tile color can make a large contribution toward a warm or cool feel in a kitchen. The earthy tones of limestone or tumbled marble are the warmest of the tile colors, while bright whites and blues tend to be quite cool. But even cool colors can be warmed with colored grout.

For example, an ivory or off-white grout color can take the cool edge off bright white. The reverse can be true if you’re trying to achieve a formal or industrial feel with gray or blue tile. A steel-gray grout helps create a crisp, cool look. A quick vacuum and an occasional mopping, and you’re off and running. If cooking and entertaining are big parts of your life, then I’d suggest tile that won’t stain if hot grease and oil or an occasional glass of wine is spilled on it. A glazed ceramic tile works best in this situation, but for an Old World look, you can use a real stone, such as limestone.

If you select a stone-tile floor, be sure to treat it with a good sealer according to the manufacturer’s directions. We recommend either Miracle Sealants’ Porous Plus or One Master Marble and Stone Care’s Gold Shield (see “Sources” on p. 94) for sealing stone tile. No matter what tile you choose for your kitchen floor, the grout should also be sealed. To make the grout more impervious to spills and stains, I recommend starting with a latex-modified grout or one that is mixed with a latex additive instead of water. Once the grout has cured properly, a sealer such as Miracle Sealants’ Porous Plus will fight off most food incursions.

Another grout option is epoxy, which is stain resistant and does not require sealing. But because epoxy is harder to work with for the installer, we generally use it for smaller Will My Three Boys and the Family Dog Hurt My Tile Floor? A client’s lifestyle has the biggest bearing on the choice of floor tile. If you’d rather spend time with your three growing boys than take care of your kitchen floor, I suggest tile that hides a multitude of sins (and dirt) and always seems to look nice, such as a ceramic-stone look-alike (see the photo on the facing page). 90 Kitchen Projects No time for cleaning?

For busy, active families with kids and pets, consider a tile floor with a lot of color variations such as this stone look-alike. It stays better looking longer between cleanings. areas, such as countertops. With some tile, such as limestone, epoxy grout is not recommended, so be sure to check with manufacturers’ suggestions. some sort of threshold to create a clean transition into the next room. Tile thickness can also affect doors that swing into the kitchen, as well as appliances, such as dishwashers or trash compactors, that have to fit under the countertops in a kitchen. How Does a Tile Floor Relate to Adjacent Rooms?

The kitchen-floor tile should help establish a visual flow into the surrounding areas, so I ask clients about the colors and materials on the floors of the rooms that are adjoining the kitchen. For example, if the kitchen floor joins up with a dark wood floor in the dining room, consider using tile with a warm, medium color to cut down on the visual contrast between rooms. If the kitchen floor meets colored carpet in an adjacent room, keep in mind that you’ll probably change the carpet at some point, so choose a neutral tile color that will go with future carpet choices. Tile thickness is another consideration.

Whether the kitchen floor butts up against other existing tile, hardwood floors, or carpet, the tile installer will need to install Can Tile Make My Tiny Kitchen Look Bigger? Tile layout can have a big impact on a room’s appearance. While a parallel or straight pattern can intensify the narrowness of a kitchen, a diagonal tile pattern makes a room look wider (see the sidebar on p. 93). Tile size can also affect the appearance of the room. The smaller the tile, the busier the grout–joint pattern. The simple grout–joint pattern you get with larger 10-in. to 12-in. tiles can make a small room look larger. Smaller 4-in. to 6-in. iles on a floor can have the opposite effect, creating a mosaic pattern or a cobblestone look. Clipping the corners of square tiles creates hexagons or octagons with small square spaces left between. The small tiles (called Putting Tile to Work in the Kitchen 91 dots) that fill the spaces can introduce a dash of color to the floor in a pattern that breaks up the simple straight lines. Irregular tile patterns such as block random (using three sizes of tile) or a pinwheel pattern can help unify a kitchen that has many entrances and exits. These patterns also work well to blend together tile that is highly varied in color.

A tile border on the floor can make a kitchen look cozier by bringing the eye in or by creating a frame around the kitchen table or an island (see the photo on p. 87). slab. And with granite tile, it’s easy to add a border to accent or complement the color of the stone. One drawback to stone tile on a countertop is the edges. Although you can round over the edges, granite tile is thinner than a solid slab (3? 8 in. to 1? 2 in. compared with 11? 4 in. , normal thickness for a granite slab), so it’s tougher to get the same full-slab look. Another drawback is not being able to install an undermount sink with granite tile.

Although the tight grout joints of granite tile create a good, smooth work surface, machine-made ceramic tile with standard grout joints makes a slightly rougher work surface. Handmade tile is usually installed with wider grout joints that are charming, but its inherently bumpy surface can be difficult to work on and can cause wine glasses and bowls to tip over (see the photos at left). The edges of a tile countertop can be addressed in various ways. Continuing the tile over the edge gives the countertop a thick look. Relief tile, such as a rope pattern, can turn countertop edges into a visual focal point.

Wooden edges that match or complement cabinets are also popular. As on floors, borders on countertops can add decoration. But if it’s used in too large an area or if a lot of items are stored on the counter, a border can be lost or distracting. Tile can also be combined with other types of surfaces for a dramatic look (see the photo on p. 90). For instance, the savings from tiling most of the countertop might leave enough money for a solid slab of granite in the sink area for an undermount sink. A stone slab or a wood surface on only the island could make a bold statement while providing a smooth surface for an informal eating area.

Is Tile OK for a Kitchen Countertop? Granite-slab countertops have long been popular in high-end kitchens. Tile countertops, both ceramic and stone, have some of the same attributes as slabs, such as durability and heat resistance, but at less than half the cost, depending on the tile you choose. Granite tile can be installed with tight grout joints to give the impression of a solid Handmade tile is pretty but uneven. The irregular surface of handmade ceramic tile is a challenge to work on and can be hazardous to wine glasses.

Cutting boards should always be used on tile countertops. 92 Kitchen Projects Tile Patterns at Work he right pattern can make a kitchen look wider. Floor tile installed in a straight pattern makes a narrow room seem narrower (see the left photo below) while tile in a T diagonal pattern softens the tunnel effect of a long, narrow kitchen, making it seem wider (see the right photo below). Can Tile Be Used as a Cutting Board? Although few tile or stone surfaces can stand up to a sharp kitchen knife, most hold up well under other kitchen rigors such as abuse from pots and pans.

Limestone scratches easily, but those scratches can be sanded out. Surfaces such as glossy tile or highly polished granite tend to show marks more readily, and their scratches are harder to remove or cover up. Stone or ceramic tile with a matte finish tends to hide scratches and surface abrasions better. Stone tile is also porous, so it has to be sealed properly to resist staining from things such as red wine and grease. And some ceramic tiles, as well as polished stone such as granite or marble, can lose their shine when exposed to some food acids.

As in floors, latex-modified grout should be used on tiled countertops along with a good coat of grout sealer. Again, epoxy grout, which costs a little more and is a little harder to install, will make the grout impenetrable. Should the Backsplash Blend or Make a Splash? A tile backsplash is the spot where you can be really creative with tile in the kitchen (see the photos on p. 94). Because a backsplash functions to protect the wall from splashes and splatters that come from cooking and preparing food, the only prerequisite is that backsplash tile be easy to keep clean.

Beyond that, the choices become mainly aesthetic. I always ask clients how much stuff they plan to keep on their countertops. Toasters, microwaves, and canisters tend to block the backsplash, and in that case, the backsplash just provides a backdrop of color and tex- Putting Tile to Work in the Kitchen 93 sources Miracle Sealants Company 800-350-1901 www. miraclesealants. com ture. I usually recommend extending the tile from the countertop all the way to the bottoms of the wall cabinets so that the backsplash acts as a visual connection between the upper and lower cabinets.

Borders usually work best above long stretches of counter that are uninterrupted by windows or appliances. And when installed three-quarters of the way up the backsplash, a border won’t get lost near the countertop or under the wall cabinets. At that height, a border will usually clear the height of the toaster or a bowl of fruit for a continuous line. If the client is thinking of having decorative tiles scattered randomly throughout the backsplash, I suggest taping playing cards to the wall at random to see if the effect works in that particular kitchen.

Playing cards can also be used in a line to test the visual power of a border. Isn’t Tile Expensive? Tile varies greatly in price, and budget is a concern for the vast majority of my clients. So here’s my strategy for keeping costs down. First, use reasonably priced machinemade tile for large areas in the kitchen. Then there will be money left for those handmade borders, small murals, or strategically placed accent tiles that will give your kitchen a rich look without breaking the bank (see the right photo below).

Installation prices can vary greatly depending on the type of tile, the layout, and the conditions of the existing floors and walls. A tile installer can explain what your options are and how much each option costs. Even if you opt for a less expensive installation, always seal the tile. Sealing tile is pretty easy, so you can save a little by doing it yourself. Spend some money on a good sealer. Lane Meehan is a tile maker and designer of decorative tiles. She and her husband, Tom, own and manage Cape Cod Tileworks in Harwich, Massachusetts. orous plus One Master Marble and Stone Care 760-406-1097 www. onemastermarble. com Gold shield The Tile Council of America 864-646-8453 www. tileusa. com Tile Art and Accents he backsplash of cows in a pasture (see the left photo below) in this kitchen designed by Randy Fritz of Lakeside, Calif. , combines the art of Roger Dunham of Petaluma, Calif. , with the practicality of T ceramic tile. Random decorative tiles in a backsplash of less expensive, machine-made tile (see the right photo below) give this kitchen a colorful accent. 94 Kitchen Projects

Throughout my childhood and growing up, my mother always made something simple for us to eat. I always thought it was simple, but it’s more complicated than it looks. My mother always made eggrolls, noodles, and this Vietnamese special sauce called “nuoc mam”. It’s the simplest and quickest thing to make when you have about five children to feed in the house. The only problem is, is that you would have to pre-make the eggrolls already. So how do you do such?

Well first you would have to gather all of your ingredients. There’s over ten items that you would need. First you would have to purchase grounded pork, shrimps, eggs, white onions, green onions, black pepper, salt, carrots, Vietnamese potato, different Vietnamese spices, and many more. You would have to chop up the carrots and Vietnamese potato in tiny little strands and pieces. Then you would throw everything in one big bucket and mix it with your hands, but make sure your hands are washed cleanly!

Once you’re done mixing everything in the bucket, you take the eggroll wrapping sheet, place it on a cutting board, take a spoon and scoop the mixed pork onto one corner of the eggroll wrapping sheet, roll it, and dab a little bit of egg yolk to seal it. You would have to continuously do this until you run out of the eggroll wrapping sheets or out of the pork itself. You would have to have your fryer at three hundred and fifty degrees and wait until the oil boils.

The best way to figure out if the oil is hot and ready is by sticking a wooden chopstick into the oil and seeing if there are sizzling bubbles bubbling around the wooden chopstick. Once the oil is hot, you drop however many eggrolls you want or that would fit in your fryer or pot, and let it fry in the fryer. You leave it in there for about five to eight minutes and then check on it again. If it looks golden brown, you can either flip it and leave it in the fryer for another two minutes or simply take it out and set it on a plate or basket with napkins beneath it so the oil could drip on it.

In the end, all you have to do is boil some Vietnamese rice noodles, chop the vegetables you would like to eat with the eggrolls, and make the Vietnamese special sauce if you please. You would put the noodles first into a bowl or a plate, put the vegetables that you would like onto the top of the noodles, then take a pair of scissors and cut the eggrolls to fall on top of the vegetables. Then you would have to drizzle the sauce on top of the eggrolls, noodles, and vegetables. All you basically have to do is stir, and dig in!

George Orwell, one of English literature’s most important and famous writers, draws the picture of a dystopia in one of his best known novels 1984. Being considered as a warning against totalitarianism, it is also possible to say that the novel puts forth a road map on how totalitarian regimes work and how certain ideologies are imposed on nations. Creating a world in which the worst possible totalitarian regime is present, Orwell also takes a very close look at the psychological states of people.

The writer doesn’t only deeply analyze what a totalitarian regime stands for but also introduces the themes of the importance of language, how certain ideologies can be imposed on people and how physical pain can control the human mind. Putting stress on the dreadfulness and the destructive nature of totalitarianism, and also by pointing out that nations can in fact be forced to admire and support such a regime, the writer makes his reader face the cruelest and most realistic aspects of such a horrific repressive regime.

Before taking a closer look at the novel, it would be helpful to give background information about the era in which Orwell was influenced to create such a hellish world. 1984 was written in 1949, when Fascism was on the rise, right after the Second World War, when Hitler was defeated and Stalin had performed his cruelest acts. Having worked in Spain in 1936 during the Spanish civil war, Orwell witnessed the cruelty of fascist regimes and had already collected his dreadful memories which lead him to write his political novels. Regarding Orwell’s intention in writing 1984, Jenni Calder in her book Animal Farm and Nineteen Eighty-Four states:

To anyone who was in Britain in the years immediately after the Second World War, and particularly in London, the sights and smell that Orwell recreates will be familiar… In 1984 he translates this situation in to the future by adding details that are unfamiliar (57). Thus, it becomes possible to say that as a result of the world’s existing state at the time Orwell wrote 1984, he was deeply concerned about the future and that his pessimist attitude in his novel acted as a warning and as a criticism of totalitarian regimes. Adriaan M. De Lange, in his book The Influence of Political Bias in Selected Essays of George Orwell says, “The rise of Fascism, Nazism and Stalinist communism in Europe and the resultant tremors in Britain left an indelible mark on Orwell’s thought and work (1). ” At this point taking a closer look at Orwell’s intentions in writing 1984 from the perspective of the Marxist Hungarian critic Georg Lukacs would be convenient. Due to his theory of “Reflection” Lukacs claims that literary works would reflect the hidden aspects of the social and political era in which they are written.

Parallel to Lukacs’ “Reflection” theory, Orwell reflects his concerns deriving from the political state in which he lives through fiction. Regarding 1984 Calder states, “Orwell is underlining a psychological as well as a political truth here, which is demonstrated in the kind of mass embracing of authorial influence that came with the rise of Nazism and Stalinism (63). ” While the era in which 1984 was written marks itself with political depressions, it also hints that the world was within a phase when totalitarian and fascist regimes were condemned as a result of the devilish acts of Hitler and Stalin.

While taking a closer look at the book and the themes it introduces to the reader, the theme of the importance of language gains significance. “Newspeak”, Oceania’s official language, consists of limited words which are created by party members. The language totally deletes some words which are present in the English language such as “excellent” or “splendid” and replaces them with an extremely plain word such as “plusgood”. Changing the language and limiting it in number of words becomes a matter of importance since language is one of the most important tools of expression and thought for human beings.

Deleting complex words and limiting language also limits the thoughts of people and enables the party to delete certain concepts from people’s minds. As Syme explains Winston how important it is to change the language he says, “Don’t you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thought crime literally impossible, because there will be no words in which to express it (60). ” Analyzing Syme’s comment on language, the reader comes to the realization that it is the language itself that makes people think.

Hence it becomes understandable that being a totalitarian regime, the party doesn’t want its people to think, since thinking may lead to original ideas and thus to through crime. By lowering the language to a very simple state, the party cleverly paralyzes the brains of its people and disables them from thinking. As Syme continues to explain the real aim of the party in creating Newspeak, he also mentions one important topic about language forming concepts. He says: How could you have a slogan like “Freedom is Slavery” when the concept of freedom has been abolished? The whole climate of thought will be different.

In fact there will be no thought, as we understand it now. Orthodoxy means not thinking-not needing to think. Orthodoxy is unconsciousness (61). In trying to understand Syme’s remark on language, it might be useful to think of Ferdinand de Saussure’s theory that discusses whether concepts or objects would really exist if they were not expressed in language. According to Saussure, what makes a concept present is the language itself. He claims that the world is a whole and that the language divides this whole in to separate pieces to make it become more understandable.

Thus, a concept or an object which isn’t expressed by language wouldn’t exist. When “Newspeak” is concerned, one may claim the same thing. If the word “Freedom” doesn’t exist in Oceania anymore, there wouldn’t be such a concept. Thus, one of the most important problems that threaten the party would be removed. When these facts are concerned, simplifying language and removing words that are used to express threatening concepts, would perfectionalize the regime in terms of the obedience of people.

Another remarkable aspect about language is that it is one of the most important things that make human beings privileged when compared to animals. As a result of the ability to think, human beings can speak. Thus, decreasing language to a minimum level in words and expression also means the dehumanization of human beings. Limiting people’s one and very important ability to think and speak, the party tries to dehumanize human beings and make them become animal-like creatures. Hence, it would be far easier for the party to have full control over its citizens.

While language plays a major role in shifting people’s thoughts to fit in the Totalitarian regime, another striking aspect of the novel is the theme of how certain ideologies can be imposed on people. As a starting point, the party chooses to change and destruct the past. Replacing true history with a fictional one which glorifies Oceania makes the already powerful party become even more invincible. As it is stated in the novel: And if all others accepted the lie which the Party imposed-if all records told the same tale-then the lie passed into history and became truth. Who controls the past,’ ran the Party slogan, ‘controls the future: Who controls the present controls the past. ‘ And yet the past, though of its nature alterable, never had been altered (40). The party creates a kind of reality by creating a past of its own. Since when there’s no one who has any historical documents saying that the party’s history is shifted from the truth, the party’s recreated history will become the truth. Hoping that there should be more than this in life, Winston tries to find a proof that the past wasn’t always like this and that the past was based on a much better world.

Winston tries to link himself with the past. He writes a diary using a pen. The pen, being an object belonging to the past, symbolizes Winston’s need for the past and trying to find a little something which would connect him the past that he doesn’t know about. Thus, the manipulation of history, in this sense, is directly related to the manipulation of people living in Oceania. Thinking that the world has always been like this, people don’t have any expectations from the future and they accept the current regime in all its ways, since they don’t have alternatives.

However, when Winston is concerned, he is one of the rare citizens who think that the past couldn’t be like this and that there was a totally different world. Knowing that history has been changed, Winston wants to find out about the true history. Looking at the issue from Winston’s psychological perspective, it might be possible to say that Winston, unhappy in the world he lives in, needs hope for the future. Not knowing what the past was like disables Winston to locate himself somewhere in the future. When the theme of history is regarded, the antique shop can be considered as a symbol of the past.

Winston gets deeply interested in the shop starting from the first moment he sees it, as it functions as a page from the past, which isn’t manipulated and changed by the party. The paperweight which Winston buys from the shop can also be considered as a symbol of the past. Being a long lost object which Winston doesn’t know about, the paperweight functions as what is “different” and “unfamiliar” and it gives Winston little hope about a better future. “Doublethink”, which simply means “telling deliberate lies and believing in them”, also functions as another aspect about imposing ideologies.

The slogans, for example, are products of the “Doublethink” principle. Orwell uses binary oppositions that say “War is Peace”, “Freedom is Slavery” and “Ignorance is Strength”. He then places them as the main mottos of the party. As doublethink plays a very important role in conditioning people, it also becomes one of the most important sources which provides the regime with permanence. “Doublethink” marks itself as one of the most important tools of the party, since it’s the basic element that makes people favor war. The reason why the party wants people to be in favor of war is once more related to the power theme.

Paras Mani Singh, Nardeep Singh Juneja mention in their book Orwell as a Political Novelist that: The only way that Oceania can exist as a state is for it to wage a constant war, the whole structure of society and state is geared to wartime economy and austerity. If there should be peace, the citizens of Oceania might reasonably expect better living conditions, better food and less control by the government (123). Thus, the motto “War is Peace” becomes very important for the party in order to keep the citizens of Oceania satisfied.

Making them watch movies of war and manipulating people in such a way to make them laugh when they see a woman hugging a little child to protect it from bullets, shows how a totalitarian regime would succeed in making people become fond of violence and cruelty. The motto “Freedom is Slavery”, on the other hand, is related to the idea of being free both in physical and psychological terms. Since freedom of thought and expression are threats to any totalitarian regime, the party replaces the understanding of the concept of “Freedom” through “Doublethink” and it creates an irrational way of understanding for its people.

Due to the fact that the people of Oceania are anything but free, for they are being watched constantly, it also becomes necessary for the party to make its citizens believe that freedom is a negative thing and that it is nothing but slavery. A this point it might be suitable to mention Foucault’s idea of the prison model the Panopticon, that functions as a system that disables the prisoners to know when they are being watched, thus to make them act in proper manners 24/7. Paul Rabinow, in his article The Foucault Reader states:

On the whole, therefore, one can speak of the formation of a disciplines society in this movement that stretches from the enclosed disciplines, a sort of social “quarantine,” to an indefinitely generalizable mechanism of “panopticism (206). Thus it would be possible to say that Big Brother, in the novel, functions as the Panopticon for the citizens of Ocenia, since people never know when they are being watched and due to their fear towards the existing totalitarian power, they act in proper manner when the sanctions of the regime are concerned.

As the last motto “Ignorance is Strength” is concerned, the party makes its final stroke on the big picture by saying that none of these things should be thought through, since ignorance and accepting things just the way they are is a kind of strength. By doing so and by applying these mottos, the party blocks all the ways for its citizens to rebel against the system. The concept of “Thoughtcrime”, gets under the spotlight at this stage, since despite all the cautions taken against any threat or rebellions against the system, the party guarantees its permanence by also limiting the thoughts of its citizens.

Having mentioned that the act of thinking itself is an undesirable act for the regime, the party strictly watches people in all their actions. The screens which are placed all over the city and even in the homes of citizens, completely removes the privacy of Oceania’s people. Big Brother’s picture staring at its citizens and controlling them in every action they take strengthens the idea of the totalitarian regime in the novel. Looking at Big Brother’s picture symbolically, it may become possible to say that Orwell draws parallelism between the picture of Stalin and Big Brother.

Drawing the picture of a totalitarian regime, Orwell points out the main principles of how such a regime would succeed. As Robert J. Savage, James Combs and Dan Nimmo quote Jane Kirkpatric’s words in their book The Orwellian Moment: In a recent and well known essay, Jane Kirkpatric describes totalitarian societies as ones which drive to establish comprehensive political control over the lives of individuals, obliterating in both theory and practice the distinction between public and private, between objective and subjective, claiming for the state the whole life of people (47).

Removing privacy is preventing people from thinking. People mostly think when they are alone and when they are in solitude. For this reason, the party completely removes the chance for its citizens to be alone, thus to think. Thinking is an important theme in the novel since it links the reader to the concept of forming an identity. People who think can have their own views about life and can be considered as individuals. Removing the concept of being an individual is one of the most important goals of the party, since individuality is a threat to any totalitarian regime.

As Goldstein lectures Winston in room 101 about individuality he says, “Can you not understand, Winston, that the individual is only a cell? The weariness of the cell is vigor of the organism. Do you die when you cut your fingernails? (302)” Thus, it becomes plain to see that for the party, being an individual isn’t a matter of importance, on the contrary it is something which isn’t favored. Since the party only considers being a whole as something important, individuality is something which it wants to completely destroy. Taking a closer look at the novel, it can be said that Winston’s ache in his ankle is also a symbol of his individuality.

Before meeting Julia, Winston continually mentions an ache in his ankle and when he finally meets her, he mentions that the ache disappears. At the end of the novel when Winston is caught by the party and when he’s being tortured in room 101, he receives blows on his ankle. Being an ordinary Oceania citizen, Winston first lacked his individuality. However starting from the moment he meets Julia and starts to have an affair with her, he regains his individuality, for he becomes able to experience something which is private and individual.

Winston’s love to Julia makes him become separate from the crowd and makes him become different from the rest of the people in Oceania, who have no intention to feel love at all and who only consider marriage as a duty which should be fulfilled for the sake of the party. Sexual life, amongst the people of Oceania is seen as a mission to reproduce and create other useful and loyal citizens for the system. However, the theme of love in Winston and Julia’s case individualizes the couple not only in terms of the love they feel for one another, but also in terms of their meetings which they think are in private.

Winston and Julia meet in secret places where they think they aren’t watched and they get total privacy. Since lacking privacy also disables the people of Oceania from becoming individuals, they are also indirectly disabled from becoming human beings. Dehumanizing people by forbidding them to love and killing all their feelings towards compassion, mercy and affection, puts them in an animal-like state. This animal-like state, however, is totally perceived as normal and humane by the party and is presented as something which is favored. Citizens who don’t posses this animal-like state are perceived as ill.

At the end of the novel Winston is referred to as “cured” when he finally draws 2+2=5 on the table and perceives the principles which the party imposes on him with torture. Winston is considered as a person with an animal-like state since he felt love for another human being. The party treats Winston as if he is ill only because he questions the party’s policies and only because he loves a woman. At the end, when Winston is freed from all the “inhumane” feelings such as doubt or love, he is again regarded as a healthy person by the party.

When the theme of humanizing and dehumanizing is concerned, the Proles play an important role. The Proloes, symbolizing a rebellion against the party, are referred to as animal-like creatures; however Winston manages to make a distinction between his own people and the Proles by saying, “The proles are human beings. We are not (191). ” Winston and Julia’s love affair in this sense can be regarded as a rebel against the party and as a struggle to become humans and individuals. As Winston’s thoughts about Julia are revealed, it’s stated:

In the old days, he thought, a man looked at a girl’s body and saw that it was desirable, and that was the end of the story. But you could not have pure love or pure lust nowadays. No emotion was pure, because everything was mixed up with fear and hatred. Their embrace had been a battle, the climax a victory. It was a blow struck against the Party. It was a political act (145). As stated, the love affair of Winston and Julia is perceived by them as a rebellion against the party. Since the party is so much full of hatred, love becomes a rebellion against it.

Being an important theme in the novel, Orwell also stresses that physical pain can control the human mind. Towards the middle of the novel when Julia and Winston are having one of their regular chats about the system as they say: I don’t mean confessing. Confession is not betrayal what you say or do doesn’t matter: only feelings matter. If they could make me stop loving you- that would be the real betrayal. She thought it over. They can’t do that she said finally. It’s the one thing they can’t do. They can make you say anything- anything- but they can’t make you believe it.

They can’t get inside you (192). Despite the firmness of Julia saying that nobody can make her feel something or can make her think something, at the end of the novel, the reader comes to the realization that through physical torture, one can be made feel and believe in anything. As Goldstein tells Winston what he thinks about confessions, he says, “All the confessions that are uttered here are true. We make them true (291). ” The fact that the party does really make the confessions become true, is based on torturing people.

Despite the human mind seems to be far away concealed in the skull, Orwell puts forth that physical pain in fact can rule the human mind. As stated in the novel: On the battlefield, in the torture chamber, on a sinking ship, the issues that you are fighting for are always forgotten. , because the body swells up until it fills the universe, and even when you are not paralyzed by fright or screaming with pain, life is a moment-to-moment struggle against hunger or cold or sleeplessness, against a sour stomach or an aching tooth (117).

The basic human instinct of survival is actually based on physical aspects. Unless the physical wellbeing is fulfilled and satisfied, there’s no rest for the human being. Relating this fact to the basic human instinct of survival, Orwell states that although it looks like the human mind is separate from the physical being, they are in fact directly related and that the physical suffering has the power to rule over the mind. As this is the case, the novel also clearly puts forth that at the end, Winston totally changes his thoughts about the system and even about Julia.

In the end after being released from torture, Winston draws 2+2=5 on the table and believes in it. Again, at the very end of the novel Winston says that he has won the battle against himself and that he now finally loves Big Brother (342). Another fact about physical pain ruling the human mind is revealed in the case when Winston and Julia meet again after being released from torture and when they can’t feel anything towards each other. As a result of torture and as a result of their survival being threatened for such a long time, both of these human beings have lost their feelings of love towards another human being.

Orwell’s message at this point might be based on the theme that after being threatened in existence and after being exposed to a tremendous amount of torture, human beings instinctually come to think of only themselves. As Winston and Julia confess to each other that they have betrayed one another in the novel, the heart breaking truth is being revealed that human beings, in depth, are based on the instinct of survival and that they are unconsciously selfish. The novel states: I betrayed you, she said baldly. I betrayed you, he said. She gave him a quick look of dislike.

Sometimes, she said they threaten you with something- something you can’t stand up to can’t even think about. And then you say, don’t do it to me, do it to someone else, do it to so-and so. And perhaps you might pretend, afterwards, that it was only a trick and that you just said it to make them stop and didn’t really mean it. You think there’s no other way of saving yourself, and you’re quite ready to save yourself that way. You want it to happen to the other person. You don’t give a damn what they suffer. All you care about is yourself (336).

The sad fact that human beings do only think of themselves and that they are selfish in nature is once more revealed by this remark. However, it is also evident in the novel that human beings who are exposed to torture lose the ability to love and think of other people. Thus, it becomes a fact that physical pain is so strong that it has the ability to erase all sorts of feelings which are related to the wellbeing of other people. Due to their instinct of survival, human beings become ready to sacrifice even people they love, to save themselves. Looking at the party from a religious point of view is also a possible theme in the novel.

Being free from all the beliefs which are related to God and his religions, people are still in need to believe in something. The party at this point functions as religion for the people of Oceania, since they are blocked in all the ways which lead to a power that is greater than the party. Thus, representing themselves and the divine power, the party introduces itself as God. The religious motives are present in the novel when Goldstein offers Winston and Julia some wine, and later places a white waffle both on Julia and Winston’s tongues so that they don’t smell of alcohol.

The ceremony which is presented here is similar to the Catholic rituals that take place in church. Believers are offered some wine which symbolizes the blood of Christ and they are placed a piece of bread on their tongs to symbolize the body of Christ. Going through a similar ceremony with Goldstein, Orwell in fact makes a foreshadowing that even the opposition, which stands for Goldstein at the beginning of the novel, is in fact one of the closest persons to the party. Thus, there is no way out of the system.

If this theme is compared to the theme of religion, the devil, who is the opposing party to God, is in fact an angel and that it is again strongly related to God. Drawing parallel lines between the party and religion, Orwell states that the Party is God like figure for the people of Oceania and that there’s no escape from it. In conclusion, speaking in general terms, the novel functions as a warning against the totalitarian regime and reveals the fact that such repressive regimes, do in fact have the power to manipulate people and that they do have the power in making people believe things which appeared as totally bizarre at the beginning.

Taking physical pain ruling over the human mind as a theme, Orwell states that human beings are selfish in nature, since they posses the basic instinct of survival. Putting also major emphasis on the concept of language and how it functions in people’s lives, Orwell states that it is in fact the language itself that shapes the motives of people and that makes some concepts become reality.

The lack of expression of some concepts in language would automatically destroy them and make them become nonexistent for human beings. Despite the novel as a whole appears as a pessimist approach to the future, taking it as a warning and looking at our present state in today’s modern world, readers can still feel gratitude for the present capitalist system they live in now and they still can preserve their hope for a better future.

The History of Garde Mange Aaron avers The garde manger profession began with peoples need to preserve food. The practice of food preservation is very much older than the term garde manger. In medieval times, castles and large homes were equipped with underground larders, or cold food storage rooms. The food storage areas in these castles and manor houses were usually located in the lower levels, since the cool basement-like environment was ideal for storing food. These cold storage areas developed over time into the modern cold kitchen. In France, the larder was called the garde manger.

So one meaning of the culinary term garde manger can be a person in charge of cold foods preparation and preservation. Today, in the industry, I have been taught that the garde manger is now referred to as the “pantry chef. ” Garde manger is also known as the place in which cold foods are prepared and stored, and the person or chef of cold foods preparation. Garerde Manger was being used long before it was a commonly used term. Perishable foods like meat and fish were dried in the sun or packed with salt to preserve them. The first dependable method of preserving foods was actually drying. Also you can read about .

Smoking foods was derived from placing the meat on poles over a smoky fire to prevent insects and other animals from feeding while it was curing. Farming families began using spices along with the salt, and discovered that tough meats can be tenderized. In the Middle Ages and in the early renaissance, foods that were prepared for the upper classes were overly complicated and heavily spiced. La Varenne, a French chef with Italian influences, went against medieval tradition,   and stressed the importance of natural flavors and lighter sauce.

Salads and vinaigrettes took the place of heavier cooked foods and became the standard side to roasted meats. It was at this point that the role of garde manger expanded from food preservation to the actual preparation of all cold foods consumption, moving them out of the basement and into the kitchen. By the end of the twentieth century the prepackaging of our industry has allowed some great advances in garde manger. Garde manger, “keeper of the food”, or pantry supervisor, refers to the task of preparing and presenting cold foods.

These typically include such food items as salads, hors d’? uvres, cold soups, aspics, and charcuterie. Larger restaurants and hotels may have the need for the garde manger to perform additional duties, such as creating elements for buffet presentation like edible centerpieces made from materials such as ice, cheese, butter, salt dough or tallow. In most modern kitchens the garde manger is synonymous with pantry chef, having duties focusing on salads, soups, cold food items, and dessert plating’s. It is usually the entry level line cook position within a restaurant.

The term “garde manger” originated in pre-Revolutionary France. At that time, maintaining a full supply of food was a symbol of power, wealth and prestige. Noble families had a household steward who would manage their cold store room. The steward was referred to as the “officer de bouche”, a title that was eventually replaced with “garde manger”. This position was extremely important, because most of the food was butchered, pickled, salted, cured, or smoked during the fall season and stored for months, all the way into the spring months.

It is because of this duty of supervising the preserving of food and managing its use that many interpret the term “garde manger” as “keeping to eat”. The position of “butcher” first developed as a specialty within the garde manger kitchen. As both the cost of and demand for animals for food increased, more space was required for the fabricating and portioning the raw proteins. This need for space was due not only to an upswing in the number of protein sales, but also to the need for separating raw proteins from processed foods to avoid cross-contamination and the resulting possibility of food borne illness.

Special “butcher shops” were created where portion sizes, product deployment, and temperature could be highly controlled. Today butcher shops exist both as standalone establishments and alongside kitchens in large hotels, country clubs and high volume restaurants. Modern garde manger can refer to different things in the professional kitchen. In many restaurants it is a station which is generally an entry level cooking position within the restaurant, as it involves preparing salads or other smaller plates which can be cooked and plated without significant experience.

In other high-profile classically influenced restaurants and hotels, the position pertains to the classical preparations. Today Garde Manger is referred to as “The Art of the Cold Kitchen”. Some may even say it is the arts and crafts of the culinary industry. Today’s Garde Mangers must behold more than simple food preservation skills. They must have the knowledge and skills to create everything as small as a batch of mayonnaise to something as large and elaborate as ice carving. Some food establishments use the word pantry instead of Garde Manager.

Some may even refer to it as the salad station… the list goes on and on. In the restaurant scene the Garde Manger’s job is typically plating salads and preparing cold appetizers. In some situations it may even be their job to plate desserts. Some find the experience of working in the Garde Manger extremely challenging and stimulating that they often decide to make it their life long career. The skills needed for the Garde Manger are so extreme that it is often the walkway that leads some to the path of being a great chef, possibly even a famous chef.

I always know it is Thanksgiving morning when I awake to the smell of the turkey roasting in the oven and the cinnamon apple spice tea brewing on the stove. The rest of the morning is spent helping my mom and grandmother cooking in our large open kitchen. Every year for as long as I can remember, my grandmother uses my Nana’s recipes when cooking the thick butter garlic mashed potatoes, homemade sweet red cranberry sauce, and the rich creamy dark gravy. On the other hand, my mom and I always cook the French green beans, sausage and bread stuffing, and also our homemade pumpkin pie together.

While the women spend most of the early afternoon in the kitchen getting things ready, the men normally gather in the living room and watch sports or play a board game on the coffee table. It is a rule in our house that no man is allowed in the kitchen while we are cooking unless he is coming to help with dishes; otherwise the men eat all the food as it is being prepared. Thanksgiving is a day where my entire family can get together and enjoy excellent food as well as each other’s company.

My father who lives in the beautiful Birmingham, Alabama drives down every year the day before Thanksgiving and stays with us throughout the weekend. He always brings the finest fresh sweet tea and homemade peach cobbler you can find in Alabama which are essential to our Thanksgiving meal. However, my maternal grandparents drive down from Memphis, Tennessee and bring along with them a small present for each of the kids; which include my two brothers, Jonathan and Harrison, and my sister Allies.

Even though this is a day for my family to spend time together, we have always welcomed anyone without a place to go or family to be with to spend it with us as well. Some of the past years we have had neighbors join us and also friends of the children. After we all eat we go outside and plays tackle football. I and my dad are usually the captains. I’ve won the past couple years due to the fact of young age. Some games get to intense due to the fact that my cousin has broken a wrist for being so soft.

Playing football has to be my favorite because I love sports and beating my cousin who hates losing to me because everyone thinks I’m a better athlete. I also love beating my little brother. Next we watch the football that is always on ESPN. My uncle is a huge football fan so he is always looking to take bets. One year I bet my uncle 20 pushups the Detroit Lions would lose and of course I won the bet and my uncle had to twenty pushups but he only did like ten due to the fact that he is badly out of shape. I love my family holidays and my family traditions.

Writers during the Revolution were classified as either positivist or romantic. but whether they were classified as positivist or romantic depended on their manner of composing. Positivist and romantic writers wrote smiliarly utilizing the same techniques. but they besides were different from each other.

A positivist writer during this clip period was . In the Virginia Convention of 1775. Henry stood up and gave a address. Its topic was about Independence that they need from Great Britain. Henry believe that “No adult male thinks more extremely than I do of the patriotidsm. every bit good as the abilites. of the really worthy gentlemen who have merely addressed the House” ( 1. 1 ) . Henry is stating that their nationalism is the feeling they need so they can interrupt away from England. One of the sentence structure that Henry uses is an Anaphora. Henry repeats the word battle twice in the 4th paragraph. and correspondence is besides used in the transition.

In the 4th parapraph. the writer uses period sentence. “If we wish to be free-if we mean to continue inviolate those incomputable privileges for which we have been so long contending-if we mean non meanly to abandon the baronial battle in which we have been so long engaged. and which we have pledged ourselves ne’er to abandon until glorious object of our contest shall be obtained. we must contend! I repeat it. sir. we must contend! An entreaty to weaponries and to the God of Hosts is all that is left of us” ( 4. 22 ) . Rhetorical schemes are what Henry uses to do his address more effectual. Arguementation is used throughout paragraph 4. by inquiring rhetorical inquiries such as “Shall we gather strength by indecision and inaction” ( 5. 6 ) . Appastion is used in paragraph 6 with “Gentlemen may shout peace. peace-but there is no peace ( 6. 2 ) .

A romantic writer of this clip period was Ralph Waldo Emerson’s From Nature. Emerson uses figures of address such as imagination. He says. “But every dark come out these minister plenipotentiaries of beauty. and light the existence with their admonishing smile” ( 1. 8 ) . Another illustration of imagination is. “The flowers. the animate beings. the mountains. reflected al the wisdome of his best hr. as muchas they had delighted the simpleness of his childhood” ( 2. 5 ) . A similie was a figure of address in paragraph 4. “In the forests excessively. a adult male casts off his old ages. as the bite his gangrene. and at what period soever of life. is ever a child” ( 4. 14 ) . Cause and consequence was used in Emerson’s transition ; “Then. there is a sort of disdain of the landscape felt by him who has merely lost by decease a beloved friend” ( 7. 6 ) .

Both of the writers have similarities between the manners of authorship.

They both contained the syntax elements to do their address and transition powerful. They were both considered to be Rebels. because of their actions towards regulations and or Torahs.

The difference between these writers. is the fact that Henry was really passionate about nationalism and how America needs to contend Britain to be free from their regulation. Emerson writes about nature and how nature is beautiful. and relates to adult male. Emerson wasnt involved with any of the rationalist actions against the British.

In Conclusion. Henry and Emerson manners of composing were similar anddifferent. Those both contained cardinal elements of literature. while they used different words and phrases.