BAMBOO SHADES BLINDS//BAMBOO SHADES BLINDS : INFANT CAR SEAT SHADE : WINDOW BLINDS UK.
(Tue) BAMBOO SHADES BLINDS : SHADES BLINDS


BAMBOO SHADES BLINDS : INFANT CAR SEAT SHADE : WINDOW BLINDS UK.



Bamboo Shades Blinds





bamboo shades blinds






    bamboo shades
  • UpSee woven wood shades.

  • Also known as Woven Shades or woven woods, these blinds are made of bamboo, jutes or reeds.  These window coverings usually can be lined as an option to provide greater privacy.





    blinds
  • Deprive (someone) of understanding, judgment, or perception

  • Confuse or overawe someone with something difficult to understand

  • Cause (someone) to be unable to see, permanently or temporarily

  • A window blind is a type of window covering which is made with slats of fabric, wood, plastic or metal that adjust by rotating from an open position to a closed position by allowing slats to overlap. A roller blind does not have slats but comprises a single piece of material.

  • The blinds are forced bets posted by players to the left of the dealer button in flop-style poker games. The number of blinds is usually two, but can be one or three.

  • window coverings, especially vertical blinds, wood blinds, roller blinds, pleated blinds











bamboo shades blinds - Simple Classic




Simple Classic Elegant Lighting - 15" Zen Japanese Design Modern Decorative Desk Lamp


Simple Classic Elegant Lighting - 15" Zen Japanese Design Modern Decorative Desk Lamp



This is part of a collection of 30 designs of unique Japanese style table & floor lamps, hanging lanterns, & lantern lit furniture. Our Zen Modern lamp is a contemporary Japanese designed desk or table lantern, great for adding indirect light to living room on a credenza, shelf unit, or sofa table. This is a modern design, with simple, zen like elements, with a poly reinforced, washi paper shade covered by glass panes. The shade is framed by dark stained, solid Spruce, hand rubbed to bring out the wood grain. The bulb socket is American standard size, designed for either incandescent or compact flourescent bulbs, with UL approved, wiring, powercord, socket, & switch. Browse our entire collection of over two dozen unique Japanese style lamps & lanterns as well as Chinese porcelain oriental table lamps on the Oriental Furniture storefront on Amazon.com. We offer one of the web's largest collections of Japanese style shoji panel screens & room dividers, Japanese tatami mats, bamboo rugs, natural sisal rugs, bamboo & paper window blinds, Japanese & Chinese wall art & statues, furniture & gifts.










75% (15)





stop snooze




stop snooze





Test shots with ISO 1500 Sepia film from the Impossible Project.
I really like the texture of the finished image, and the thinner paper it prints on. Almost seems like from a different time, more so than the Fuji FP100C.











031/365 - shutting it out for a day




031/365 - shutting it out for a day





Even without my headache, I was more in the mood to stay at home in a nice dark room than do anything else. Luckily, we just installed some screens to tone down a previously intolerably bright room in the house.









bamboo shades blinds







See also:

aluminum awnings

mylar shades

solid wood canopy beds

canopy bedding set

kirsch drapery rings

gingham roman shades

electric hurricane shutters

blinds and drapes

comfortex pleated shades



Category: None | trackback(0) | comment(0) |


(Tue) BOARD AND BATTEN VINYL SHUTTERS. BOARD AND BATTEN


Board and batten vinyl shutters. Making wood shutters. Drapery pin hooks



Board And Batten Vinyl Shutters





board and batten vinyl shutters






    vinyl shutters
  • Palm Beach™ shutters will not warp, crack, chip or shrink. They are UV-resistant and unaffected by temperature and humidity extremes. Color throughout keeps them looking new for as long as you own them. A scratch- and dent-resistant finish never needs sanding, staining or painting.





    batten
  • A long, flat strip of squared wood or metal used to hold something in place or as a fastening against a wall

  • furnish with battens; "batten ships"

  • A strip of wood used for clamping the boards of a door

  • batting: stuffing made of rolls or sheets of cotton wool or synthetic fiber

  • a strip fixed to something to hold it firm

  • A strip of wood or metal for securing the edges of a tarpaulin that covers a ship's hatch





    board
  • A thin, flat, rectangular piece of wood or other stiff material used for various purposes, in particular

  • get on board of (trains, buses, ships, aircraft, etc.)

  • a stout length of sawn timber; made in a wide variety of sizes and used for many purposes

  • A long, thin, flat piece of wood or other hard material, used for floors or other building purposes

  • The stage of a theater

  • a committee having supervisory powers; "the board has seven members"











Bloomfield Construction - New Vinyl Siding




Bloomfield Construction - New Vinyl Siding





This house turned out great! Notice the new columns and the detail of the wider vinyl corner posts, it really helps outline this house and make it stand out from the rest on the street!











Vinyl Shutters $1.50 ea.




Vinyl Shutters $1.50 ea.





Outdoor vinyl house shutters. Assorted colors and sizes. $1.50 ea. ITEMS PICTURED MAY HAVE ALREADY BEEN SOLD. NEW ITEMS ARRIVE DAILY.









board and batten vinyl shutters







See also:

awning track

yellow drapes

lamp shade covering

awning sun shades

shutter strap hinges

carefree of colorado awning replacement parts

kelysus convertible canopy chair blue

retractable shades

sun canopy



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(Tue) CANOPY SIDE WALL : SIDE WALL


CANOPY SIDE WALL : VERTICAL WINDOW SHADE



Canopy Side Wall





canopy side wall






    side wall
  • A tire with distinctively colored sidewalls

  • The side of a tire, typically marked or colored distinctively

  • The exterior wall on either side of a unit.

  • A wall forming the side of a structure or room

  • (Side-walls) Where a vertical roof plane meets a vertical wall. The sides of dormers, etc.

  • Smooth part of the tire between the bead and the tread. Typically contains the writing.





    canopy
  • cover with a canopy

  • the umbrellalike part of a parachute that fills with air

  • Cover or provide with a canopy

  • the transparent covering of an aircraft cockpit











canopy side wall - Suncast STA100




Suncast STA100 Side Tracker 100-Foot Wall-Mount Hose Reel


Suncast STA100 Side Tracker 100-Foot Wall-Mount Hose Reel



100 Side Tracker Garden Hose Reel. 100 Side Tracker Garden Hose Reel! Garden Hose Reel features: 100 of 5/8" hose capacity Fully assembled Easylink system ensures watertight connection between hose reel and hose Hose guide for ease in winding Removable reel for winter hose storage Mounts securely to wall Leader hose included 18" W x 11 1/2" D x 19 3/4" H(Width includes extended crank handle)

If you've tripped over your hose one too many times, and you don't have room in your backyard for a freestanding cart, this wall-mount hose reel will get you organized while taking up very little space. It mounts directly to an exterior wall and can be placed at any height. The Easylink system reduces water leakage and holds up to 100 feet of hose easily. You can even remove the reel itself for winter storage. When hand-cranking, you'll have to guide the hose a bit with your free hand, but this reel does a good job of winding it up properly if you take your time. Mounting requires a few wall screws (not included), but the holes are easy to access if you remove the reel first.










80% (7)





Nave Ceiling/Canopy, Coventry Cathedral




Nave Ceiling/Canopy, Coventry Cathedral





Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.

It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.

The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).

The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.

Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.

Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.

However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).

The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.

The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary











974 Fifth Avenue, Ukrainian Institute




974 Fifth Avenue, Ukrainian Institute





Upper East Side, Manhattan, New York City, New York, United States

This grandly imposing block was originally developed in two phases, On the north side of the street, beginning in the early 1880s, row houses were erected by speculative builders. These houses were relatively modest in character, and many have since been replaced by later buildings.

In contrast, the south side of the block retains its early 20th-century character to an exceptional degree, and is lined by one of the most imposing series of town houses preserved in all New York City. Like the north side of 78th Street (within the District), development of this 79th Street blockfront was controlled by Henry Cook who had purchased this entire square block from Fifth to Madison Avenue in 1879). At that time not a single building stood on the "Cook Block" as it was known, and Cook did not begin to sell his property until the late 1890s.

In 1899 the first of these large 79th Street houses was completed, the magnificent Fletcher mansion at the south Fifth Avenue corner, designed by C.P.H, Gilbert, it must have formed a striking companion to the Brokaw residence across the street, The other houses on the south side of the block were built in the following years, and the last of the group, No. 20, was completed in 1912. The architects of this fine series of houses, including such prominent firms as that of Warren & Wetmore, Barney & Chapman, Grosvenor Atterbury and Ogden Codman, designed residences in varying styles, including the Francois I, neo-Federal and neo-Renaissance, Conceived on a grand scale, in keeping with the scale of the broad street, these houses form a monumental and dignified row, enlivened by the'-I nd Vidua I.I t.y of the facades. That few alterations or changes have been made to the exteriors of these buildings further enhances their historic and architectural value. They are especially evocative of the elegant and fashionable life of the Upper East Side in the early 1900s.

No. 2.
Constructed between 1897 and 1899 for Isaac D. Fletcher, this exceptionally fine Francois I mansion was designed by C.P.H, Gilbert (see p.112), an architect responsible for a number of other residences within the District. The builder and mason Harvey Murdock worked with Gilbert on this commission, Murdock, who specialized in the construction of private residences, was active in both Manhattan and Brooklyn. He worked in collaboration with Gilbert on several occasions, and also with the architects R.H. Robertson, and Babb, Cook & Willard. The handsome carved detail of the Fletcher house bears witness not only to the talent of the architect, but also to the ability of the builder Murdock. The house was published in the Architectural Record in 1899.

Isaac D. Fletcher (1844-1917) was a native of Maine who came to New York as a young man. He was president of the New York Coal Tar Company and later president of the Barrett Manufacturing Company. He was an art collector and bequeathed a major portion of his estate to the Metropolitan Museum of Art.

After Fletcher's death, his 79th Street residence was sold to Harry F, Sinclair (1876-1956) who owned it until 1930. Sinclair, who trained for a career as a pharmacist, determined in the early 1900s that prospecting for oil might be a more profitable field of endeavor. In 1905 he purchased his first oil well, and by 1916 he had founded the multimillion dollar Sinclair Oil Corporation. In the 1920s "The Chief" as he was known, was involved in the TeaPot Dome scandals, and although he was not convicted of any criminal charges, he did serve a brief prison sentence for contempt of court. He was in later years the chairman of the board of the Richfield Oil Corporation. Sinclair was a baseball and horse racing enthusiast; he was the owner of the St. Louis Browns, and of Zer, the 1923 winner of the Kentucky Derby.

No. 2 was purchased in 1930 by Augustus van Horn Stuyvesant (1870-1953) and his sister Ann Stuyvesant (d. 1938). The two were direct descendants of Governor Peter Stuyvesant, and when Augustus, a bachelor, died, the New York Times reported that the death of the last direct male descendant of the Governor signaled "the end of an era" in New York history, Stuyvesant was privately educated and did not pursue a career, although he occasionally was involved in real estate matters, since the Stuyvesant family had large property holdings in New York,

He was for many years a recluse, and after the death of his sister, lived alone, with a smalt household staff, seeing only his lawyer, Reportedly he went out very seldom, although he took a dally "constitutional" in his neighborhood, He died at the age of 83 and was buried in St. Mark's in the Bouwerie with his ancestors in the family vault which was then sealed. Stuyvesant had left his entire fortune to St Luke's Hospital for construction of a wing in his father's memory,

In 1955 No. 2 became the headquarters of









canopy side wall








canopy side wall




The Other Side of Wall Street: In Business It Pays to Be an Animal, In Life It Pays to Be Yourself






This is the eBook version of the printed book.
Minyanville Media founder and former hedge fund honcho Todd Harrison shares amazing untold stories from Wall Street’s hidden side. From the adrenaline rush of trading at Morgan Stanley, to trench warfare with Galleon and Jim Cramer to valuable lessons about money and life, Harrison provides unforgettable tales from the most tumultuous era in financial history!

As seen on Bloomberg Television's "Taking Stock."


This is the eBook version of the printed book.
Minyanville Media founder and former hedge fund honcho Todd Harrison shares amazing untold stories from Wall Street’s hidden side. From the adrenaline rush of trading at Morgan Stanley, to trench warfare with Galleon and Jim Cramer to valuable lessons about money and life, Harrison provides unforgettable tales from the most tumultuous era in financial history!

As seen on Bloomberg Television's "Taking Stock."











See also:

plastic bamboo shades

sunshade 8053

sidelight shutters

brown drum shade

how to drape fabric from ceiling

how to make top down bottom up roman shades

leather lamp shade

canopy tour in puerto vallarta

roman shades with valance

used tanning canopy



Category: None | trackback(0) | comment(0) |


(Tue) CANVAS MATERIAL FOR AWNINGS - FOR AWNINGS


Canvas material for awnings - Solair awnings.



Canvas Material For Awnings





canvas material for awnings






    material
  • Denoting or consisting of physical objects rather than the mind or spirit

  • Concerned with physical needs or desires

  • derived from or composed of matter; "the material universe"

  • Concerned with the matter of reasoning, not its form

  • concerned with worldly rather than spiritual interests; "material possessions"; "material wealth"; "material comforts"

  • the tangible substance that goes into the makeup of a physical object; "coal is a hard black material"; "wheat is the stuff they use to make bread"





    awnings
  • (awning) a canopy made of canvas to shelter people or things from rain or sun

  • An awning or overhang is a secondary covering attached to the exterior wall of a building. It is typically composed of canvas woven of acrylic, cotton or polyester yarn, or vinyl laminated to polyester fabric that is stretched tightly over a light structure of aluminium, iron or steel, possibly

  • (awning) A rooflike cover, usually of canvas, extended over or before any place as a shelter from the sun, rain, or wind; That part of the poop deck which is continued forward beyond the bulkhead of the cabin

  • A sheet of canvas or other material stretched on a frame and used to keep the sun or rain off a storefront, window, doorway, or deck





    canvas
  • Cover with canvas

  • an oil painting on canvas fabric

  • a heavy, closely woven fabric (used for clothing or chairs or sails or tents)

  • canvass: solicit votes from potential voters in an electoral campaign











175 West Broadway Building




175 West Broadway Building





Tribeca, Manhattan

Erected in 1877 for the heirs of the Estate of Jerome B. King to the designs of the Newark architectural firm of Scott & Umbach, the 175 West Broadway Building is an exceptional example of late-nineteenth-century polychromatic brick design. Exemplifying changes in taste during the 1870s which favored brick buildings, its facade presents a striking blend of European-inspired brick design. Among the notable features of the facade are the contrasting stonework which highlights areas of structural stress and creates patterned effects, the unusual corbelled archivolts employing multiple dentil courses, and the extraordinary stepped and bracketed corbelled brick cornice that is without parallel in New York architecture. This small office building was constructed at a time when improved transportation facilities spurred the erection of such new commercial buildings in the area around lower West Broadway. Built as a rental property for the heirs of Jerome B. King, one of the most prominent manufacturers of plaster and cement products in the country, the building was long occupied by Harwood & Son, a successful manufacturer and retailer of awnings and other canvas products.

Built as a small four-story office building, 175 West Broadway is similar to many of the store and 10ft buildings in the TribeCa area in the division of its facade into a cast-iron and brick commercial base and brick upper stories. Here, however, the first story is elevated a few feet above ground level.

In the absence of original plans it is only possible to speculate on this unusual arrangement, though it seems likely that the building'S small size made an above-ground basement desirable. In addition, since 175 West Broadway was an office building, the wood and glass shopfront was probably not used for the display of goods but only for signage and illumination. The articulation of the upper stories is unusually rich, employing both elaborate corbelling and brick and stone pOlychromy in an exceptional design which draws on both German and French sources.

In his dissertation on architectural polychromy of the 1830s, David Van Zanten described arChitectural polychromy as "a general phenomenon embracing the whole of European architecture" through much of the nineteenth century." An interest in polychromy had first developed during the early nineteenth century as European architects began to find evidence that ancient buildings originally had been colored. By the 1830s, the avant-garde were incorporating an increasingly strong palette in their reconstruction drawings of ancient bUildings. As these architects began to produce plans for modern buildings, color became an important element of design. While the first polychromatic designs were executed in stucco and paint, architects soon became concerned about the tendency of these materials to crack and fade.

Experiments were made with enameled panels, notably in connection with J.-\. Hittorfrs SI.

Vincent-de-Paul in Paris (consecrated 1844), but increasingly the solution seemed to lie in structural polychromy, in which color was derived from "the inherent hues of building materials."" One of the leaders in the adoption of structural polychromy was the pre-eminent German architect Karl Friedrich Schinkel who began to produce polychromatic brick designs in the late 1820s, culminating in the red and violet-banded Berlin Bauakadamie (School of Architecture), a major public monument, which became an important prototype for German design." Interestingly, Schinkel drew his inspiration from a variety of 4 sources including the medieval brick architectl're of Germany and Italy and the modern-day utilitarian architecture of industrial Britain. This expansion of interest to include a variety of models which were given equal weight with classical architecture is, of course, one of the chief characteristics of nineteenth-century design.

In Germany, in the 1830s and 1840s, a group of progressive architects like Friedrich Von Gartner and Leo von Klenze created a new style known as the Rundbogenstil which synthesized classical and medieval architecture by drawing on historic precedents in the round-arched Byzantine, Romanesque, and Renaissance styles.'• Buildings in this style were usually executed in brick and locally available stone since these were thought to be more "truthful" materials than stucco and had historically been associated with German architecture. Characteristic features of the Rundbogenstil included the use of pilaster strips and horizontal bands to set off areas of the facade, the employment of elaborate brick corbelling (especially arcuated corbel tables), and the use of molded surrounds to emphasize arched door and window openings. Color remained an important element of design especially in the work of Schinkel's followers, Friedrich Ludwig Persius, Friedrich August Stiiler, August Soller, and in that of the Munich ar











175 West Broadway Building




175 West Broadway Building





175 West Broadway, Tribeca, Manhattan, New York City, United States of America

Tribeca, Manhattan

Erected in 1877 for the heirs of the Estate of Jerome B. King to the designs of the Newark architectural firm of Scott & Umbach, the 175 West Broadway Building is an exceptional example of late-nineteenth-century polychromatic brick design. Exemplifying changes in taste during the 1870s which favored brick buildings, its facade presents a striking blend of European-inspired brick design.

Among the notable features of the facade are the contrasting stonework which highlights areas of structural stress and creates patterned effects, the unusual corbelled archivolts employing multiple dentil courses, and the extraordinary stepped and bracketed corbelled brick cornice that is without parallel in New York architecture. This small office building was constructed at a time when improved transportation facilities spurred the erection of such new commercial buildings in the area around lower West Broadway. Built as a rental property for the heirs of Jerome B. King, one of the most prominent manufacturers of plaster and cement products in the country, the building was long occupied by Harwood & Son, a successful manufacturer and retailer of awnings and other canvas products.

Built as a small four-story office building, 175 West Broadway is similar to many of the store and 10ft buildings in the TribeCa area in the division of its facade into a cast-iron and brick commercial base and brick upper stories. Here, however, the first story is elevated a few feet above ground level.

In the absence of original plans it is only possible to speculate on this unusual arrangement, though it seems likely that the building'S small size made an above-ground basement desirable. In addition, since 175 West Broadway was an office building, the wood and glass shopfront was probably not used for the display of goods but only for signage and illumination. The articulation of the upper stories is unusually rich, employing both elaborate corbelling and brick and stone pOlychromy in an exceptional design which draws on both German and French sources.

In his dissertation on architectural polychromy of the 1830s, David Van Zanten described arChitectural polychromy as "a general phenomenon embracing the whole of European architecture" through much of the nineteenth century." An interest in polychromy had first developed during the early nineteenth century as European architects began to find evidence that ancient buildings originally had been colored. By the 1830s, the avant-garde were incorporating an increasingly strong palette in their reconstruction drawings of ancient bUildings. As these architects began to produce plans for modern buildings, color became an important element of design. While the first polychromatic designs were executed in stucco and paint, architects soon became concerned about the tendency of these materials to crack and fade.

Experiments were made with enameled panels, notably in connection with J.-\. Hittorfrs SI.

Vincent-de-Paul in Paris (consecrated 1844), but increasingly the solution seemed to lie in structural polychromy, in which color was derived from "the inherent hues of building materials."" One of the leaders in the adoption of structural polychromy was the pre-eminent German architect Karl Friedrich Schinkel who began to produce polychromatic brick designs in the late 1820s, culminating in the red and violet-banded Berlin Bauakadamie (School of Architecture), a major public monument, which became an important prototype for German design." Interestingly, Schinkel drew his inspiration from a variety of 4 sources including the medieval brick architectl're of Germany and Italy and the modern-day utilitarian architecture of industrial Britain. This expansion of interest to include a variety of models which were given equal weight with classical architecture is, of course, one of the chief characteristics of nineteenth-century design.

In Germany, in the 1830s and 1840s, a group of progressive architects like Friedrich Von Gartner and Leo von Klenze created a new style known as the Rundbogenstil which synthesized classical and medieval architecture by drawing on historic precedents in the round-arched Byzantine, Romanesque, and Renaissance styles.'

Buildings in this style were usually executed in brick and locally available stone since these were thought to be more "truthful" materials than stucco and had historically been associated with German architecture. Characteristic features of the Rundbogenstil included the use of pilaster strips and horizontal bands to set off areas of the facade, the employment of elaborate brick corbelling (especially arcuated corbel tables), and the use of molded surrounds to emphasize arched door and window openings. Color remained an important element of design especially in the work of Schinkel's followers, Friedrich Lud









canvas material for awnings







See also:

sewing roman shades

design view cellular shades

design your own draperies

shade for window

solar shading

interior paint shades

bali skylight shades



Category: None | trackback(0) | comment(0) |


(Tue) CARAVAN AWNING POLES. AWNING POLES


CARAVAN AWNING POLES. VINYL ROLL UP SHADES.



Caravan Awning Poles





caravan awning poles






    caravan
  • A covered truck; a van

  • a procession (of wagons or mules or camels) traveling together in single file; "we were part of a caravan of almost a thousand camels"; "they joined the wagon train for safety"

  • A covered horse-drawn wagon

  • travel in a caravan

  • A vehicle equipped for living in, typically towed by a car and used for vacations

  • van: a camper equipped with living quarters





    awning
  • A sheet of canvas or other material stretched on a frame and used to keep the sun or rain off a storefront, window, doorway, or deck

  • a canopy made of canvas to shelter people or things from rain or sun

  • An awning or overhang is a secondary covering attached to the exterior wall of a building. It is typically composed of canvas woven of acrylic, cotton or polyester yarn, or vinyl laminated to polyester fabric that is stretched tightly over a light structure of aluminium, iron or steel, possibly

  • (awned) having awns i.e. bristlelike or hairlike appendages on the flowering parts of some cereals and grasses; "awned wheatgrass"





    poles
  • A long, slender, rounded piece of wood or metal, typically used with one end placed in the ground as a support for something

  • (pole) a native or inhabitant of Poland

  • A wooden shaft fitted to the front of a cart or carriage drawn by animals and attached to their yokes or collars

  • (pole) a long (usually round) rod of wood or metal or plastic

  • A long, slender, flexible rod of wood or fiberglass used by a competitor in pole-vaulting

  • (pole) punt: propel with a pole; "pole barges on the river"; "We went punting in Cambridge"











Pole Change at GroveSt/Prospect Hill Rd Jct




Pole Change at GroveSt/Prospect Hill Rd Jct





Going from top to right order the first four pictures are before the pole change and the last three are after. Street View has a mixture of older and newer shots at this junction, and as you can see, the vertical tap in the first two pictures was replaced and turned into a double crossarm pole.

The single-crossarm pole ahead of the vertical tap was turned into a triple-tap out pole, and the first pole that's lead off from the vertical tap is a has become a dead-end pole and the one after it was once an alley arm pole, which has now turned into a single crossarm pole with all the insulators placed onto the crossarm, which I thought was neat for a change considering most of the newer poles usually having the pole top pin.

I remember living in the area in 93-94 when the Prospect Hill Rd line was nothing but armless construction. Sadly, every pole has since been replaced mainly due to the objective in 1994 to remove most armless construction. The line used this construction all the way to Bridgewater and Rt 133.











Totem Poles - Ketchikan, Alaska




Totem Poles - Ketchikan, Alaska





Left
Potlatch Pole, Haida
Potlatch Pole, Haida
Origin: Old Kasaan

A potlatch is a large gift-giving ceremony and feast. The rings carved on this ple show how many potlatches this clan chief has hosted. Original paint remains near the beaver's chin, eyes, and ears, and under the wings of the eagle on the top of the pole. Paint was a slamon egg base mixed with minerals. Three colors were used to highlight the carving: Black, red, and blue-green.

Center
Memorial Pole, Haida Origin: Old Kasaan

With no written language, Native culture and tradition passed through oral history. Totem pole figures helped tell the stories. The human figure on this pole represents the legendary Haida strongman, Stone Ribs, who could change into other beings. THis pole reminds of the time he returned to his people as a sea lion.

The top of the pole is the tip of the sea lion's nose. Ovoid shapes on each side represnt the joints of the fippers. You see Stone Ribs encased in the stomach section.

Totem Heritage Center











caravan awning poles







See also:

in white rooms booka shade

custom balloon shade

florida storm shutter

canon xti shutter release

glass ceiling light shades

sun shade screen

dining room drapes

shutters sydney

the shade shop



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