Pregled posta

Marketing

Sanus Systems MF215-B1 15-Inch to 37-Inch LCD TV 15-Inch Extending Full Motion Wall Mount (Black)

The Vision Mount MF215 is a full-motion wall mount for small to medium LCD TVs. Sanus Systems' Virtual Axis 3D? technology allows mount to tilt, swivel, pan and extend with fluid motion in every direction possible up to 15 from the wall. Full motion allows easy viewing from multiple angles, and adjustment knob enables TV to move easily while maintaining tension for the perfect viewing angle. Keyholes on faceplate slide onto TV and into place for effortless bracket alignment and easy installation. Includes two VESA-compatible TV brackets: large bracket fits 200 x 200, 200 x 100 and 100 x 100; small bracket fits 100 x 100 and 75 x 75 to accommodate virtually any 15 to 37 LCD TV or monitor up to 60 lbs.

Theater District, Midtown Manhattan

The Paramount Hotel was constructed in 1927-28 as part of an extensive building and expansion drive in the Times Square theater district during that period. One of a very few hotels designed by noted theater architect Thomas Lamb, this building’s design reflects the theatrical nature of the neighborhood. New York in the 1920s was a popular tourist destination and this hotel was one of several built in the area that was intended to appeal to visitors coming to New York for its extensive night life. This hotel provided over 600 rooms, restaurants, lounges and a well-known nightclub in the basement. Thomas Lamb designed a large number of theaters in the area, particularly movie houses, giving them a variety of decorative treatments that suggested the fantastical interiors and variety of entertainments provided inside. Lamb was a classically trained architect, able to use a wide-ranging architectural vocabulary geared toward the specific conditions of the building.

At the Paramount Hotel he employed flamboyant French Renaissance details, often over-scaled to create a dramatic presence on this smaller, bustling side street. He concentrated his ornament on the lowest levels, visible to passers-by on the street, and on the roofline, visible from a distance or from the windows of nearby buildings. The building displays a double-height arcade along the street, with each arch filled by glass windows allowing a view into the hotel’s activities. The two floors above this are highly embellished by terra-cotta moldings, keystones, volutes and swags, adding a sophisticated note to the streetscape. Toward the top, the building steps back gradually to an imposing central pavilion.

The tall mansarded and hipped, copper-covered roof, with its ornate dormers, over-scaled urns and projecting pediments is highly visible from a distance, and stands out from its more reserved neighbors. Throughout the changes to the Times Square neighborhood over the last century, the Paramount Hotel has continued to add its sophisticated presence on this busy commercial street.

After years of neglect, the renovation of the hotel in the early 1990s contributed to the renewed popularity of this area as a popular tourist destination.

Set on a narrow midtown commercial Manhattan cross street, the Paramount Hotel is 19 stories tall and 12 bays wide. Its brick, stone, and terra cotta facade is capped by a high copper mansard and hipped roof with two stories of projecting dormers. The building has a narrow Hshaped plan, with longer, uninterrupted facades on the north and south and light courts inserted from the east and west sides. The decorative emphasis is focused on the first three stories (those that can easily be seen from the street) and the upper levels that are visible from a distance. The eight stories in between have a fairly regular facade treatment, with evenly spaced windows provided for the hotel rooms inside.

Massing: The building rises straight up from the lot line through the 11th story. At the 12th and 13th floor levels, the nine central bays set back several feet. Another setback occurs evenly across the entire facade at the 14th and 15th stories, which effectively continues the central setback, while allowing the two end bays on each side to appear as strong, vertical elements. At the 15th and 16th stories, the four central bays continue to rise in the same plane, while the three bays on each side set back. This central portion rises to a steep, hipped roof, while the roof on each side forms a steep mansard.

46th Street facade: The ground story on West 46th Street features a double-height colonnade, 12 bays wide across the entire front of the building, faced with white marble sitting on a granite base. Recessed shop windows with plain, non-historic glass fill most of the spaces between the columns with individual entrances to various stores. The main hotel entrance is located in the third and fourth arches from the east, with non-historic glass-and-metal doors. Each archway is trimmed by decorative molding and capped by a fully embellished volute flanked by ribbons and topped by a shell. Large, elaborately ornamented bronze frames are mounted on the columns that flank the fifth arch from the west. Within each archway, a mezzanine level is indicated by a tripartite cast-iron base that cuts across the archway, topped by iron-framed, tri-partite windows.

The second story is the most elaborately ornamented of the facade. It is separated from the base by a continuous marble string course. Above this is a continuous paneled band that forms a base and continuous sill for the windows. Each plain, rectangular window is surrounded by a broad, eared molding that ends in vertical foliate bands that descend to a volute.

The windows are capped by ornately decorated keystones flanked by foliate swags and topped by a shell. Additional foliate swags are located under each window. Between each window

Midtown West, Manhattan, New York City, New York, United States

1780 Broadway was constructed in 1909 as the New York headquarters of the B. F. Goodrich Company, a leading American manufacturer of automobile tires and other rubber products. Since the late 1880s the company had operated a Manhattan office and this project coincided with the company’s reincorporation in New York State. Located in the section of midtown Manhattan that was known as “Automobile Row” during the first decades of the 20th century, Goodrich’s neighbors included the A. T. Demarest and Peerless Motor Companies, as well as the United States Rubber Company. Chicago architect Howard Van Doren Shaw was responsible for the building’s distinctive design and it is one of two extant works by him in New York City. Like many of the two hundred works Shaw built during his career, mostly in the Midwest, it reflects his life-long interest in blending modern and traditional architectural features. Clad with mostly red brick and limestone, the 12story facade is distinguished by abstract, stylized ornament that suggests the influence of Elizabethan and Jacobean sources, the English Arts and Crafts movement, and the Vienna Secession. Goodrich occupied 1780 Broadway for about eighteen years. A tire showroom was located on the ground floor and other floors contained offices and repair facilities. In addition, some space was leased to related firms in the booming automobile industry. Following the sale of the building in 1928, the number of automobile-related tenants began to decline. Although the ground floor was substantially altered by the early 1950s, the upper stories retain most of their original materials and ornament.



DESCRIPTION AND ANALYSIS

Manhattan’s “Automobile Row”

In the last decade of the 19th century, automobiles – then known as “horseless carriages” – were in the earliest stage of development. At first considered novelties, by 1899 approximately three hundred experimental vehicles were in use, built for wealthy drivers by former carriage and bicycle manufacturers. There were several dozen companies by 1907, including the Ford Motor Company, where Henry Ford introduced modern assembly line techniques to lower production costs. According to the New York Times, by 1910 the industry had an annual capacity of 200,000 vehicles. There were 44 American manufacturers by the 1920s, but many other companies had failed, anticipating the industry’s subsequent dominance by a few large firms, concentrated in Michigan.

“Automobile Row” took shape in the first decade of the 20th century, pushing north along Broadway from Longacre (later Times) Square, where many horse, harness and carriage businesses had been concentrated. It was a rapid transformation and at the time that Goodrich was contemplating erecting 1780 Broadway, the New York Times observed: “To-day there is almost a solid line of motor vehicle signs” from 42nd Street north to 72nd Street. While some firms purchased or leased space in older, remodeled buildings, others commissioned prominent new structures, often designed by leading American architects. For example, the neo-Gothic A. T. Demarest and Peerless Motor Car Company Buildings (1909, a designated New York City Landmark) at 224-28 West 57th Street were designed by Francis H. Kimball, considered by many to be the father of the skyscraper in New York City; the Beaux-Arts-style United States Rubber Company Building (1911-12, a designated New York City Landmark) at 1790 Broadway was designed by Carerre & Hastings, architect of the New York Public Library on Fifth Avenue, and the Ford Motor Company Building (1917) at 1710 Broadway was designed by Albert Kahn, architect of numerous structures for the automotive industry and other commercial clients. These highly-visible buildings were typically planned with spacious showrooms and offices for the owner, as well as with additional floors to rent to other, often automobile-related, businesses. The Automobile Club of America erected two garage and clubhouse structures in the immediate area: 247-59 West 54th Street (1907, refaced) and 250 West 55th Street (1910, demolished). Both were designed in the French Renaissance style by Ernest Flagg.

The B. F. Goodrich Company

By 1888, the Goodrich Hard Rubber Company had opened a New York City office, at 65 Reade Street in lower Manhattan. Based in Akron, Ohio, it was founded by Benjamin Franklin Goodrich in 1870 and grew to be one of the largest producers of rubber products, especially tires, in the world. Raised in upstate New York, Goodrich studied medicine but during the late 1860s entered the rubber industry, investing in the Hudson River Rubber Company, which operated a factory in Hastings-on-the-Hudson, as well as a Manhattan office. Though the company struggled, when Goodrich relocated to Akron he was well-prepared to launch a similar partnership with his brother-in-law, Harvey W. Tew, named Goodrich, Tew & Company. Over t

These Mini Adjustable Decorative Shelf Brackets provide an easy way to mount beautiful floating glass or wood shelving nearly anywhere in your home or office. Available in four durable finishes: silver chrome black and white these mini adjustable decorative shelf brackets are designed to support shelves measuring between 0.16" to 0.71 inches (4mm-18mm) thick and have a maximum weight capacity of 44 lbs per pair of shelf brackets. Mini Adjustable Decorative Bracket Set Features Sturdy die cast aluminum construction. Contemporary curved profile. Mounts easily to walls with included hardware. Available in white black chrome or silver. Mounting hardware disappears for a clean finished look. Adjustable design tightens with hidden screw to secure glass shelf. Designed to support shelves measuring 0.16" to 0.71" (4mm 18mm). Compatible with our Large Two-Tone Floating Glass Shelves Concave Two-Tone Floating Glass Shelves and our Wood Display and Storage Shelves . Safe for mo