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Saturday, August 9, 2014

RMIT Architecture

ï»¿RMIT Architecture

He moved to Melbourne in 1996. He is a Senior Lecturer in Architectural/Urban Design and History/Theory of Architecture at RMIT University, and a director of Baracco + Wright Architects. His teaching includes design studios, final year design thesis studios and history/theory courses. Since 1997 he has been coordinating and lecturing in the course of History of the 20th Century Architecture together with Peter Corrigan. From 1997 to 2005 he also coordinated the Final Year Design Thesis stream Pre Major + Major Project courses. He is currently the coordinator of the International Exchange Studies Program. In 2010 he has completed a PhD on the architecture of Melbourne architect Robin Boyd it is titled: Coexistence of Rational Definiteness and Irrational Oneness. An Investigation of Robin Boyds architecture and approach through a Heideggerian perspective. The thought and design approach of this Melbourne architect is discussed in relation to the theoretical thought of German philosopher Martin Heidegger and is investigated as characterized by two coexisting positions: a rational comprehension of the world through objective and definite entities, and an irrational oneness as a state of reciprocal co belongingness con fusion of these same physical and spatial entities. This work, which through extensive writing and redrawing of Boyds projects argues the existence of a dimension of continuity and con fusion of space between architectural, landscape, urban and territorial fields, is part of a wider and more general research framework that is consistently investigated by Mauro in different ways through his teaching, practise and publishing activities regarding both architectural design and history/theory of architecture. Program Responsibilities Coordinator of History of the 20th Century Architecture Coordinator of the International Exchange Studies Program Staff Representative member of the SSCC Committee Student Staff Consultative Committee Member of the International Committee Teaching Commitments Architectural Design Studio Major Project Master final thesis Supervision History of the 20th Century Architecture History/Theory subjects Community Involvement Commentator of architectural/urban matters for SBS Radio Collaborator in various capacities and through public presentations and events organization of the Robin Boyd Foundation Collaborator in various capacities and through various design research with environmental organizations such as: Greening Australia MCMC Merri Creek Management Committee CERES Community Environment Park FoMC Friends of Merri Creek Crib Point Foreshore Committee Mornington Peninsula Practice Key Projects Baracco + Wright Architects 1999 2010 Fitzroy Community School, Thornbury, Melbourne, Australia new school for the Thornbury Campus 2008 Urban Design Framework for Crib Point, Mornington Peninsula, Victoria, Australia commissioned by the Mornington Peninsula Shire Council to Baracco + Wright Architects and NMBW 2008 Rose House, Merricks Beach, Mornington Peninsula, Australia 2008 Fitzroy Community School, North Fitzroy, Melbourne, Australia addition of new volumes for conference hall and library 2006 Simpson Street Apartments, Northcote, Melbourne, Australia 2006 Farm Pavilion, Barrabool Hills, Geelong, Australia 2006 Simpson Street House, Northcote, Melbourne, Australia 2006 Court House, Caulfield, Melbourne, Australia renovation of an existing Glass House, formerly Labassa Conservatory, c.1890, originally part of Labassa Estate, and addition of new residential buildings and landscape 2005 Former Lawrence House, Kew, Melbourne, Australia refurbishment, landscape and furniture design of former Lawrence House designed by Robin Boyd, 1966 1968 2000 2007 George + Murphy House, Kew, Melbourne, Australia alterations, additions, furniture and landscape design in various stages 2000 Car park, auditoria, hostel, research spaces and landscape for a Cultural/Entertainment/Sport Centre, Cuneo, Italy. 1999 Fit out design for the exhibition Pause: 16 Emerging Melbourne Architects, Melbourne International Biennial 1999, Melbourne Central, Melbourne, Australia Baracco Architects sole practitioner, 1991 1997 1997 Commemorative monument to mathematician Carlo Peano, Cuneo, Italy national competition entry Honourable Mention; in collaboration with Luciano Gastaldi unbuilt 1994 Renovation and alteration of Nuvolari Mediterraneo Caf in Cuneo, Italy 1993 Architectural and landscape design for Nuvolari Libera Tribu cultural and entertainment complex, Cuneo, Italy 1992 Public Housing Complex, Savigliano Cuneo, Italy 1990 Companion City: an urban and architectural design for the Porta Vercellina Area, Milan, Italy international competition entry Honourable Mention, unbuilt Baracco Romanelli Architects 1986 1990 1987 Nuvolari Caf Cuneo, Italy renovation and alteration of a historical building Design Architect in Aldo Rossi and Gianni Braghieri Office of Architecture 1986 1990 1987 Architectural and landscape design of an urban park and new church, Miglianico Chieti, Italy national competition entry First Prize; in collaboration with Gianni Braghieri and Paolo Digiuni unbuilt 1987 Urban and landscape design for the area around the Central Railway Station, Milan, Italy, national competition entry Honourable Mention; in collaboration with Gianni Braghieri, Arduino Cantafora, Francesco Gulinello, Raffaella Pirini, unbuilt 1986 Centro Torri Shopping Centre, Parma, Italy Research Area Mauro Baraccos research and supervision are broadly involved with investigations of a design approach that is inclined to encourage a sense of coexistence and no hierarchy between architecture, landscape and infrastructure as equal and simultaneous conditions in contemporary urban and suburban environments. This research not only entails the consistent testing of design approaches that at a theoretical level critically resist the rational and mainly western process of representation/determination/objectification, but also indirectly lead to projects that at a more empirical level are characterized by a strong degree of sustainability. In light of their inclination to weaken boundaries between distinctive elements and therefore to focus on the design of relational spaces rather than the production of single objects, the range of projects continuously investigated and tested by this research approach are inclined to address, in different forms and at different levels, the current and urgent need to occupy and inhabit land in a considered and sustainable way. A consequential aspect of this research is the study and reconsideration of the recurrent everyday and transformations that consistently inform the architectural, urban, physical, historical, social and cultural environments of contemporary cities in general, and Melbourne in particular as a consistently investigated local case study. In parallel, as a correlated aspect of this research framework, Mauro is consistently interested in the analysis and critical revisitation of late modernist examples as different and yet analogous traditions closely involved with a notion of design that is strongly critical of the sense of determination and objectification that typically characterize an extensive range of Modernist positions. These late modernist references include the work of the Smithsons, Italian Neo Liberty, Brutalism, Metabolism, Radical Architecture and Melbourne architect Robin Boyd among others. Publications Books and editorships Mauro Baracco ed., Tree Sprawl Consolidation and Expansion of Open Vegetated Space: Projects in the Urban Territory of Merri Creek, Melbourne, School of Architecture and Design, RMIT University, Melbourne, 2011 Mauro Baracco ed., Sustainability Post Copenhagen, monographic issue of Architect Victoria, Spring 2010 Mauro Baracco, Lucinda McLean, Rebecca Roke, Louise Wright, Complexity and Ambiguity; from Hastings to Stony Point, exhibition catalogue including urban and architectural RMIT final thesis projects for the area comprised between Hastings and Stony Point, Westernport Bay, with the collaboration of Mornington Council, exhibition in Bittern Hall, Bittern, November 2005 Mauro Baracco ed. with others, Dia Architecture Thesis Projects 2000 2001, RMIT University Press, Melbourne, 2002 Mauro Baracco, Paolo Digiuni eds., Centro Torri, essays and reflections on a work by Aldo Rossi and Gianni Braghieri, photos by Luigi Ghirri, Clup, Milano, 1988 Book Chapters and Refereed Articles Mauro Baracco, Urban Densification and Community Interaction through Tree Sprawl, in Mauro Baracco ed., Tree Sprawl Consolidation and Expansion of Open Vegetated Space: Projects in the Urban Territory of Merri Creek, Melbourne, School of Architecture and Design, RMIT University, Melbourne, 2011 Mauro Baracco and Louise Wright, Multi Family House 2006 and House That Grows Inside, in Shane Murray, Diego Ramirez Lovering, Simon Whibley eds, reHousing 24 housing projects, RMIT University Press, Melbourne 2008, pp. 112, 113 Mauro Baracco and Louise Wright, Coastal Deck, in Rowena Wiseman ed, Out of the Square, Beach architecture on the Mornington Peninsula, MPRG, Mornington 2008, pp. 74 77 Baracco + Wright Architects, Barrabool Hills, in Neil Durbach, Vince Frost, Wendy Lewin, Kerstin Thompson, Gary Warner eds., Abundant, catalogue of the homonymous exhibition, Australian Pavilion, 11th International Exhibition La Biennale di Venezia, Venice, Italy, September November 2008, p. 59 Mauro Baracco, senza soluzione di continuit in Stefania Chiavero ed, Rendiconti Cuneo 2005, Nerosubianco Publisher, Cuneo, Italy, 2005 Mauro Baracco, Yet Unconcluded: The Poetic Resistance of Some Melbourne Architecture in Leon van Schaik ed., Poetics in Architecture, monographic issue of Architectural Design, vol. 72, no. 2, March 2002 Mauro Baracco, for Re inhabitation in Mauro Baracco ed. with others, Dia Architecture Thesis Projects 2000 2001, RMIT University Press, Melbourne, 2002 Mauro Baracco, luogo della di architettura e natura Cuneo, place of a belonging together between architecture and nature, in Marco Bosonetto, Oliver Migliore, Cuneo. Strade, facce, monumenti e cieli della citta triangolare Cuneo: roads, faces, monuments and skies of the triangular city, Blu Edizioni, Peveragno, Italy, 2001 Mauro Baracco, fit out for Pause exhibition: a project of my tradition in Catherine Murphy ed., Pause, RMIT University Press, Melbourne, 2001 Mauro Baracco, and Marginality in Sisto Giriodi, A Piedmontese Atlas, Celid, Torino, 2001 Mauro Baracco, Dialogue for a possible utopia, Transition, no. 40, 1993 refereed article Mauro Baracco, Directions in Contemporary Italian Architecture Transition, no. 40, 1993 refereed article Mauro Baracco, Biennale Fifth International Exhibition of Architecture: Multiplicity as the Only Unity Transition, no. 36/37, 1992 refereed article Mauro Baracco, Garnier or the Reconciliation of Doubt and Certainty Transition, no. 33, 1990 refereed article Journal/Magazine articles Mauro Baracco, Architecture of the Common Sense and Sustainability, in Mauro Baracco ed., Sustainability Post Copenhagen, monographic issue of Architect Victoria, Spring 2010 November 2010, pp. 1 5 Mauro Baracco, Postcard to Italy, Architect Victoria, Winter 2008, p. 12 Mauro Baracco, Louise Wright, Response to the 25 year survey of Australian Architecture organized by Architectural Review Australia, AR Architectural Review Australia, no. 100, 2007 Mauro Baracco, Eduardo Souto de Moura, review of the book and Braga Stadium, Monument, no. 64, December 2004/January 2005 Mauro Baracco, Response to the question posed by Pataphysics: In recent years have any aspects of your concerns with space altered?, Pataphysics, 2005 Mauro Baracco, Louise Wright, Somers Shed , a project by NMBW, Architecture Australia, vol. 93, no. 1, January/February 2004 Mauro Baracco, in Mauro Baracco ed. with others, Dia Architecture Thesis Projects 2000 2001, RMIT University Press, Melbourne, 2002 Mauro Baracco, Atlante Piemontese a conversation with Sisto Giriodi, Monument, no. 45, December 2001/January 2002 Mauro Baracco, Australian architects. For a architecture, beyond the relation local/global. 688, April 2001 Mauro Baracco, on the notions of Tradition and Resistance in architecture and their sense of marginality Atopos, philosophy journal, no. 61/62, 2000 Mauro Baracco, Louise Wright, infra ordinary of Paul Cox Count Down, no. 3, January June 1999 Mauro Baracco, presence. 31, August/September 1999 Mauro Baracco, Terragni. Exhibition Review Architectural Review Australia, no. 66, Summer 1998 Mauro Baracco, Louise Wright, in Melbourne itinerary no. 149, Domus, no. 808, October 1998 Mauro Baracco, 8: Edmond Corrigan at RMIT a review of the book in three volumes, Domus, no. 117, July/August 1997 Mauro Baracco, Discrete Discreet house Ottagono, no. 124, September November 1997 Mauro Baracco, percorso esatto The exact journey, a postcard on re interpreting Italo Calvino, Count Down, no. 5, December 1997 Mauro Baracco, Katsalidis St. Andrews Beach House, Victoria, Australia Domus, no. 768, February 1995 Mauro Baracco, Marcante, D. Volpe e G. Domenino: Un appartamento a Torino A. Marcante, D. Volpe and G. Domenino: A flat in Turin, Domus, no. 765, November 1994 Mauro Baracco Corrigan, Athan House in Monbulk Domus, no. 750, June 1993 Mauro Baracco, Hadid: Bar Ristorante MoonSoon, Sapporo Zaha Hadid MoonSoon Bar Restaurant, Sapporo, Domus, no. 729, July/August 1991 Mauro Baracco, Seidler Associates: Appartamento e uffici, Sydney Harry Seidler Associates Penthouse apartment and offices, Sydney, Domus, no. 722, December 1990 Mauro Baracco, in fragments/The fragments of being Pataphysics, no. G/H, 1990 Mauro Baracco, e Torino Mollino in Turin itinerary no. 44, Domus, no. 703, March 1989 Mauro Baracco, Paolo Digiuni, Chapel in Giussano a review of the Molteni Chapel by Aldo Rossi, A+U, no. 213, June 1988 Mauro Baracco, Paolo Digiuni, Rossi, cappella funeraria a Giussano Aldo Rossi, Funeral Chapel in Giussano, Domus, no. 690, January 1988 Mauro Baracco, Riva, Il tavolo Adanna per Fontana Arte Umberto Riva Adanna table for Fontana Arte, Domus, no. 686, September 1987 Mauro Baracco, e Isola, Mobili 1951 1970 1986 Gabetti e Isola, Furniture 1951 1970 1986, Domus, no. Initiative, Melbourne, 21 November 2007 Mauro Baracco, Heideggerian Architecture, unpublished paper presented in the context of Theoretical Framework Lecture Series, School of Architecture + Design, RMIT University, Melbourne, 29 March 2007 Mauro Baracco, in a condition of co belongingness unpublished paper presented in the context of the conference Politics of Space in the Age of Terrorism, School of Architecture + Design, RMIT, 1 2 July 2005 Mauro Baracco, and Centralized Schemes in the History of Urban Planning. A trajectory of utopian examples of to representation from Renaissance to Contemporaneity unpublished paper presented in a guest lecture delivered in the context of the World Cities Research Project Seminar, School of Architecture + Design, RMIT University, 10 September 2002 Mauro Baracco, Ambiguity of the Origin Ambiguity of Space, unpublished paper to present the work of sculptor Roberto Fabiani, The Italian Institute of Culture, Elm Tree House, South Yarra, Melbourne, 4 July 2002 Mauro Baracco, beyond representation. Contemporary projects of architecture/landscape/infrastructure unpublished paper presented in a guest lecture delivered at McGauran Giannini Soon Architects, Melbourne, 19 April 2002 Mauro Baracco, essentiality and immediateness. A and resistance to representation in contemporary cinematography unpublished paper presented in the context of the Almost There lecture series, School of Architecture + Design, RMIT University, Melbourne, Australia, 15 August 2001 Mauro Baracco, Thought and Hermeneutics in Contemporary Philosophy and Architecture unpublished paper presented in a guest lecture delivered in the context of Theory Architecture Lecture Series, School of Architecture + Design, RMIT University, 9 August 2001 Mauro Baracco, the Relation Local/Global Beyond Representation. Unione Italiani in Australia, Motor Works Gallery, Melbourne, Australia, 10 March 1997 Mauro Baracco, on the edge: Modern and Contemporary Architecture in Melbourne unpublished paper presented in a public lecture at the Faculty of Architecture of Turin Polytechnic, Turin, Italy, 12 December 1996 Mauro Baracco, an architecture qualities unpublished conference paper presented in the context of the Master of Architecture Program workshops, University of Melbourne, Faculty of Architecture, Building and Planning, Melbourne, Australia, 10 13 October 1996 Mauro Baracco, and Followers in the creative process unpublished conference paper presented at the International Conference On Taste, Industrihuset, Stockholm, Sweden, 13 May 1996 Mauro Baracco, e nella citta contemporanea and in the contemporary city, Inter Nos Italian Australian Quarterly Review, Melbourne no. New and emerging architectural practices, Span Gallery, Melbourne, Australia, 10 15 December 2001; curated by John Rollo, organized and produced by the Royal Australian Institute of Architects Participation of Mauro Baracco Architects by invitation to: Architettura Italiana Contemporanea. Esperienze e ricerche delle nuove generazioni Contemporary Italian Architecture. Experiences and Research of the new generation, Opos Gallery, Milan, Italy, December 1993; Museum of Sant Agostino, Genoa, Italy, April May 1994; Palazzo Steri, Palermo, Italy, November 1994; Bari, Italy, May 1995; curated by Giampiero Bosoni Participation of Mauro Baracco Architects by invitation to: La Cooperazione Edilizia tra integrazione e recupero: 10 anni di attivita della Lega delle Cooperative nella Provincia di Cuneo Between integration and reuse: Contemporary Public Housing Projects in Piedmont, Italy, San Francesco Civic Museum, Cuneo, Italy, 24 30 April 1993 Participation of Mauro Baracco Architects to the exhibition: Progetti Italiani per Nara Migrazione ad Oriente Italian Projects for Nara Migration to the Orient, selected entries for the Nara Convention Hall International Competition, Japan, 1991, Japanese Institute of Culture, Valle Giulia, Rome, Italy 9 26 June 1992 Participation of Mauro Baracco Architects to the exhibition: Companion City selected entries for an international competition of urban and architectural visions for different cities in the world, the Australian Centre for Contemporary Art ACCA, Melbourne, Australia, 20 March 14 April 1991 Participation of Mauro Baracco Architects to the exhibition: Il Progetto Impossibile The Impossible Project, selected entries for the homonymous architectural competition, Parma, Italy, April 1991; organized by Gramsci Institute of Parma Participation of Mauro Baracco Architects by invitation to the exhibition: The New Breed presenting the work of 40 young international architects, Architecture International Seminar Series, University of Technology, Sydney, Australia, 13 15 October 1988 Exhibition curatorship Curatorship and fit out design of the exhibition: Tree Sprawl Consolidation and Expansion of Open Vegetated Space; Projects in the Urban Territory of Merri Creek, Melbourne, CERES Community Environment Park, East Brunswick, Melbourne, 11 June 1 July 2011; a collaboration between RMIT University, School of Architecture and Design; MCMC, Merri Creek Management Committee; and CERES Community Environment Park Curatorship and fit out design with the collaboration of Oliver Hutchison of: CBD North An exhibition of works in progress for a publication, RMIT University, School of Architecture and Design, Building 45, Lygon Street, Carlto

Friday, July 4, 2014

How to Make a Bib Necklace Using Recycled Beads Made From Magazines

ï»¿How to Make a Bib Necklace Using Recycled Beads Made From Magazines Your friends will never guess that this fun and colorful necklace is handmade with paper beads, created from recycled mail, maps, and magazines. There are many ways to make paper beads. I used the method I learned at camp long ago to create a dangling beaded fringe for this stylish bib necklace. Old magazines, catalogs, and maps are handy sources and great materials for paper beads, and add rich color to this bib necklace project! 6 to 10 full page images from magazines and catalogs or you can use old maps! clothes catalogs and fashion, design, or travel magazines are all great sources of images. They usually have full page photos or illustrations with rich color, and are printed on thicker paper. You can usually make at least 20 beads from an 8 1/2 x 11 inch photo or image. glue stick that dries clear pencil or a pen and ruler scissors or paper cutter a paper clip handy if you are doing this project with small children a few sheets of scrap paper to glue on Materials for Making Paper Bead Bib Necklace60 to 80 paper beads I used 40 inch long beads and 20 half inch beads see directions below smaller purchased beads these beads can be all one color and style to pull your design together, or different colors, styles, and sizes to add more variety and texture. package on head pins head pins can come in a variety of lengths. I always buy the longest I can find about 3 inches. You can always cut them shorter with wire cutters if needed. a necklace chain with open links and a fastener you will be attaching your beaded fringe through the links of the chain. You can either buy a length of chain or use an old necklace. I used a necklace with large links that I could attach multiple dangling beads from, but you can use a smaller link necklace too. needle nose pliers and wire cutters To Make Inch Long Beads1. First, choose about six to ten images to use for your beads. I wanted my necklace to have an overall blue design, so I chose images with blue in them. However, it is impossible to guess what color each bead is going to be when finished unless you use paper that is just a solid color. I would recommend using images with colors that you like, make A LOT of beads, then choose the beads for your necklace from your collection of finished beads. 2. Working with one image at a time, measure and mark up the right hand side of your picture at inch intervals 1 inch, 2 inches, 3 inches, etc.. Start at the bottom of your image and work toward the top. See diagram for reference. You can mark and cut your image across either length wise or width wise. Longer triangle pieces will create wider beads. 3. On the left hand side of your image, working bottom to top, make your first mark at 1/2 inch. Then mark the rest of the sheet at 1 inch intervals 1 1/2 inch, 2 1/2 inches, 3 1/2 inches, and so forth. 4. Using a ruler, draw lines connecting the markings on the left hand side to the markings on the right hand side. You should create a series of pennant shaped triangles. 5. Use scissors or a paper cutter to cut out your triangle shapes. Throw away the top and bottom paper pieces that are not evenly sized. 8. Then starting at the wider end of your triangle, slowly roll your paper as tight as possible. It may be a little difficult when you first start rolling your beads, but you want to make the hole down the center as small as possible. Try to keep the ends of your bead even so that the point will roll up to the center of your bead. It may be helpful you roll your paper around a pencil before you put any glue on it just to get it to start curling. If you are making beads with small children, you can use an unfolded paper clip as a tool for them to roll the paper around to form the bead. 9. A perfectly formed bead will have the center point roll into the exact middle in the length of the bead. This will created a evenly rounded side on your bead. However, if your beads comes out uneven, they are still beautiful and interesting! As you roll your beads, you should notice how the colors in your images are displayed on your finished beads. To make the most of the designs in my images, I marked my photos for inch long beads at the bottom and half inch beads at the top of each page. This left some unmarked paper in the middle that I threw away. 10. Some people use acrylic spray finish or acrylic liquid varnish to seal, harden, and protect their paper beads. I think this can be messy and is unnecessary. I have jewelry that I made from paper beads years ago, and the beads still have held together and look fine. Just be sure that your pointy ends have glued down firmly and completely. Making Half Inch Long Beads1. To make shorter and rounder beads, follow the instruction above however mark the right hand side of your image at 1/2 inch intervals 1/2 inch, 1 inch, 1 1/2 inches, 2 inches, etc.. 2. On the left hand side, make your first mark on the bottom at 1/4 of an inch. Then make the next markings every 1/2 inch start at 3/4 inch, then 1 1/4 inches, 1 3/4 inches, 2 1/4 inches, etc.. Follow the illustration for marking and cutting your smaller beads. Continue to follow the directions above for cutting, rolling, and gluing your beads. Making the Beaded Fringe for Your Bib NecklaceI chose to make about 40 longer beaded fringe pieces and about 20 shorter pieces for my necklace.

Sunday, June 29, 2014

How To Make a Beaded Fringe Necklace

ï»¿How To Make a Beaded Fringe Necklace The beaded fringe necklace comprises two strands with one bead at its focal point. What makes it interesting are the fringes attached to the bead. Look fashionable while wearing a beaded fringe necklace on Bohemian tops. This necklace does not look simple to make at face value, but it can be made with a little jewelry making skill. Check out the procedures below and give making a beaded fringe necklace a try. Starting step: stringing and beading. Prepare two 35 inch cords as beading wires. Let them hold together for twining. Put three filler beads on the two strings. Place them at the center. String beads on one side. Start stringing beads on one side of the filler beads. Place seed beads and filler beads on each of the two wires separately. After filling the strings with alternating beads of approximately two inches, place another filler bead on both wires. String beads on the other side. Repeat step two, this time on the other side of the filler beads placed on the strings in step one. Keep adding seed beads and filler beads on both sides. Continue adding seed beads and filler beads on either side of the original filler beads until you cover the entire length but six inches of the strings from one end to another. Add another series of seed beads and filler beads. String beads on both ends of the beading wires. Separate the wires and place six filler beads on each wire four wires. Put one filler bead and six seed beads again. Add another seed bead and a bicone crystal bead each to both ends of the wires. Add even more beads. Add six seed beads on to separate wires, and then add a spacer bead on to non separate wires. Follow this sequence in adding the additional beads: furnace bead, spacer bead, filler bead, special focal bead and another spacer bead. Make the fringe bottom of the necklace. To make this, add seed beads to each of the four strings separately. Alternately put filler and spacer beads on each of the strands. Fill the four wires with beads until only a couple of inches are remaining from the whole of the wire. Use a crimp bead, two small seed beads, a small filler bead and another seed bead on to each remaining wire space. Finish the fringe necklace. Tie a knot around the final seed bead and follow through with two seed beads, the crimp bead and one last seed bead. Pull the wires through the fringe bead. Wrinkle the crimp beads with crimp pliers. Remove excess edges of the beading wire to finish up the beaded fringe necklace. This necklace does not have a lock because it can be worn by just slipping through the head.

How To Make a Beaded Fringe Necklace

Saturday, June 28, 2014

How to Care for Your Fine Jewelry

ï»¿How to Care for Your Fine Jewelry Training Your Fine Jewelry: The first thing you should do is to give your fine jewelry its own little space for when it is not being worn and train it to stay there. Jewelry items do not live or party well together. Much of the damage, other than wear, that is done to jewelry happens in jewelry boxes. Stones scratch each other and the metals around them. Chains get caught in tangles that almost always cause some sort of damage. The best way to clean your fine jewelry is with a soft used toothbrush and a mild dish detergent. If the pieces are very dirty, you can soak them in detergent and water. Do not use harsh cleaners such as chlorine bleach or ammonia. It is not advisable to use toothpaste either. Many contain a mild abrasive, which will remove some metal and cause a dull finish. Any competent jeweler can polish items on occasion, but this process also removes small amounts of metal and so should be used sparingly. Checking Prongs Stones: If the stone moves in the setting, put it in some kind of small bag or container and take it to your nearest qualified jeweler. The small bag prevents loss of the stone should it fall out. Loose stones are also more easily chipped or broken. Another good indicator of a loose prong is if the piece gets caught in clothing or hair by a prong. Checking for Wear and Tear: Over time, gold and silver will wear down. This can happen over months or years. This can be a problem for people who do certain kinds of work. The solution to this type of problem is the use of heavier metal in the prongs, the use of platinum for the setting or the use of a bezel setting to secure the stone. Prongs should be checked occasionally and if thin they should be replaced. The bands on rings can also become quite thin and eventually need replacing. The thinner the band to begin with the faster this will happen. If you give your jewelry a little care and check it periodically for wear and overall condition, it will give you many years to a lifetime of joy. A competent jeweler can recondition most pieces so long as the damage hasnt been allowed to go too far.