Roy McMakin for Ebony and Co: Woodworker Frank Peck unloading the crates containing the unassembled pieces of timber

罗伊·麦克马金(RoyMcMakin)有着令人艳羡的技巧，可以用普通的家庭物品制作艺术。在他能干的手里，熟悉的人变得不熟悉，无论是房子，椅子还是梳妆台。

只有当这位西雅图的艺术家把注意力转向地板时才合适。McMakin为Ebony和Co公司设计，该公司生产自己的美国木材，自己加工木材，并以“慢速”的方式生产地板，其贡献通常令人好奇。地板通常由规则的木条构成，定期连接在一起，以产生一种规律的图案，使其几乎消失；麦克马金的地板是由不同形状的板条以非连续的间隔强制组合而成的。

麦克马金来自缅因州，他在那里完成了一位艺术家的实习，他说，这是典型的直线地板的对立面。通过把它们切成碎片，并有不同的宽度互相碰撞，你就有了一种交替的力量穿过地板。我在试着模仿脱衣舞地板的原型。

这一微妙的干预是由摄影师凯尔约翰逊为壁纸网站，以陪同他的肖像麦克马金(上图)为我们的11月份(W*140)的问题。

这位勇敢的摄影师跋涉到华盛顿州的“大叶制造”车间，那里是McMakin的大部分项目进行的地方，目的是在幕后一瞥制造过程。从埃伯尼(Ebony)和公司(Co)运来的木箱，到大叶公司的经理兼主管斯科特·格拉奇克(Scott Graczyk)与同事弗兰克·派克(Frank Peck)和安迪·泰勒(Andy Taylor)之间毫无戒备的时刻，这些照片为人们提供了一个罕见的洞察力，了解到地板上有多少努力，尤其是当它们像麦克马金(McMak@@

Roy McMakin for Ebony and Co Peeling aside the protective layers covering the timber strips

Roy McMakin for Ebony and Co The timber strips revealed

Roy McMakin for Ebony and Co McMakin prefers to work with timber that’s cut into pieces with different widths

Roy McMakin for Ebony and Co: The crates of timber for the flooring arriving at Big Leaf Manufacturing’s workshop where the timber is processed

Roy McMakin for Ebony and Co: A quiet moment before work begins on the timber strips

Roy McMakin for Ebony and Co: A consignment of timber strips waits to be transformed into flooring

Roy McMakin for Ebony and Co: The crates of timber in the warehouse at Big Leaf Manufacturing

Roy McMakin for Ebony and Co Prepping the timber for cutting

Roy McMakin for Ebony and Co: At Big Leaf Manufacturing

Roy McMakin for Ebony and Co: A worker at Big Leaf Manufacturing

Roy McMakin for Ebony and Co: A worker at Big Leaf Manufacturing where most of Roy McMakin’s projects are prepped

Roy McMakin for Ebony and Co: One of the machines used to work on the floor boards

Roy McMakin for Ebony and Co: Detail shot of the finished floor showing the irregular joins as designed by McMakin

Roy McMakin for Ebony and Co: McMakin and his new floor for Ebony and Co (the collaboration was brought about by Wallpaper's Handmade issue, W*137)

Parklets, San Francisco  One of Andres Power's parklets (a former parking spot now reclaimed and turned into a green recreational space) on San Fran's Divisadero Street

Parklets, San Francisco Andres Power, in front of one his reclaimed parking places

Parklets, San Francisco Taking over two or three former parking spots, the Parklets accommodate businesses such as cafés or bicycle shops

Parklets, San Francisco Four more parklets are planned for 2010, while a giant version taking 30 spaces along two blocks is planned for early next year.

Parklets, San Francisco One of Power's blueprints for his venture

Parklets, San Francisco These public spots are lined with greenery and welcome cyclists and pedestrians alike to take some time out

The Resnick Pavilion at LACMA Inside the Resnick Exhibition Pavilion. 'The 2000 Sculpture', 1992, by Walter De Maria

The Resnick Pavilion at LACMA 'The largest purpose-built open-plan museum in the world,' according to The Los Angeles County Museum of Art

The Resnick Pavilion at LACMA The all-glass entrance

The Resnick Pavilion at LACMA The 180ft by 200ft structure is topped by a striking 21-bay sawtooth-skylight roof

The Resnick Pavilion at LACMA Inside Renzo Piano's vast structure. 'The 2000 Sculpture', 1992, by Walter De Maria

The Resnick Pavilion at LACMA Inside the pavilion