AUSTRALIAN SHADE SAILS
26.01.2012., četvrtak
AUSTRALIAN SHADE SAILS : SHADE SAILS
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Australian shade sails : Canton canopies Australian Shade Sails
Physalia physalis The Bluebottle or Portuguese Man-of-War is not a single animal but a colony of four kinds of highly modified individuals (polyps). The polyps are dependent on one another for survival. The float (pneumatophore) is a single individual and supports the rest of the colony. The tentacles (dactylozooids) are polyps concerned with the detection and capture of food and convey their prey to the digestive polyps (gastrozooids). Reproduction is carried out by the gonozooids, another type of polyp. The float is a bottle or pear-shaped sac that can exceed 15 cm. It is mainly blue, though its upper margin may show delicate shades of green or pink. It is a living, muscular bag that secretes its own gas, which is similar to air. The float has aerodynamic properties and it seems likely that sailing characteristics may be modified by muscular contraction of the crest. Physalia sails at a slight angle downwind and the course is determined by the curvature of the float and the underwater resistance of the rest of the colony. The float may project either to the left or to the right; the left-handed forms sail to the right of the wind and vice versa. Thus, if the sailing angle of one form leads to its stranding on the shore, the others sailing to the opposite side of the wind may escape- Australian Museum Online fact sheet Double Sails My driveway has 2 triangular sails that I put up all by myself last year. There was a lot of ladderwork that day, but it was worth it. The car gets a bit more shade and protection from the scorching Australian sun, there is less leaf litter, and we don't get as wet. You can glimpse triangular patches of greenery or sail from the bedroom window. Taken with iPhone 3GS. Related topics: easy canopy shades of blonde hair colors high fidelity canopy bed shades for ceiling lights luxury drapery hardware slag glass lamp shade windows blinds xp themes shade cover aluminium shutter window shades parts |
BLACK ROLLER SHADE - BLACK ROLLER
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Black roller shade - Silk sheer drapes - Black canopy bedroom set. Black Roller Shade
roller dole 3 My first pictures with my new D300S. Of course, there was no constant sun and the park was in the shade. Please be indulgent !... Black out blinds Manual rollder blinds c/w Korean imported stickers. Material : Blackout blinds Imported from Korea/ USA. Year : July, 2009 Related topics: park design lamp shades awning materials solar shading systems sun shade for cars scenic plus porch awning how to make a canopy over bed sheer window blinds |
BLINDS BETWEEN THE GLASS DOORS. THE GLASS DOORS
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Blinds between the glass doors. Shades furniture. Blinds Between The Glass Doors
one seven three. Watched I skinned my knee and now it stings. It is red and raw and peeling. That probably is not a very ladylike thing to say. It is probably not a very ladylike thing to do, skin your knee. Or any other part of your body. It burns, now, kind of like the sun if you stay out for too long, and your skin bubbles up. But different. Like when oil pops out of the pan and onto your skin. Instantaneous pain that is gone as soon as you notice it. But it burns until you hold it under cold water. It burns like that, but different. I’m sitting here looking at my knee and I don’t know why. It makes me human, this missing layer of skin. It’s round, but wobbly. How can a shape be wobbly? Like a painting done by shaky hands trying to impress their parents, trying to earn their praise and love. “Look what they’ve done! Isn’t it wonderful!” Wobbly like the crack in your voice when you lie. My mom yells up at me do I want food. I think for a minute. Am I hungry? I don’t know. I can’t tell anymore. The difference between hunger and pain is indecipherable. My lungs feel so heavy, like they’ve been flooded. Who would do that? Why would anyone flood my lungs? Do people hate me? I don’t understand. If they aren’t flooded why is it so hard to breathe. Blinking isn’t natural anymore, I feel it. Every time. My eyes close, they pause, they open. Usually they don’t reach the bottom lid, they just block my vision momentarily. Why is breathing so difficult? Why is blinking so conscious? I thought this stuff was supposed to be unfelt, unnoticed, unacknowledged. I thought I answered my mom but she’s standing in my doorway, watching me. Sometimes I forget to answer out loud. People will ask me something or confide in me expecting a response, and I deliver in my head. As if I think I can share my reaction telepathically. But that isn’t even it. It’s not a thought. I just don’t answer. I think I do. I feel the words in my mouth, my eyes blink and head turn in whatever direction I need to project my voice and I do. I feel it in my lungs. Except it isn’t really happening. I’m not really answering. I’m not really talking. The situation isn’t really unfolding. It’s just in my head. And it’s become a problem for people. My mom is starting to think something is wrong with me. “I’m sorry. I thought I answered. No, I’m good thanks.” Oh, the look on her face. Such a good mother, such concern. But Mom I’m fine. I say this in my head, not out loud. Because she hasn’t said anything, so why would I tell her I’m fine? It’s okay to keep this in my head. “I’m worried.” Obviously or you wouldn’t be standing in my door. “Don’t be.” I smile. It’s so fake, I feel my eyes close again, the half thing. Where they don’t fully shut, like they’re afraid if they don’t watch for a minute something horrible might happen. But no, it’s not even that. I’m just too tired. I’m exhausted, all the time. So tired that my eyelids feel like bricks being smashed up against one another if I try to close them. “I’m fine.” She doesn’t know what to do. I’m sorry, Mom. I wish I was better. I wish you didn’t have to worry about me or ask or think you needed to check up on me. I can feed myself, it’s okay. She blinks her own eyes halfway but not because she feels every nerve in her body, but because she is holding back a tear. I’m sorry, Mom. I really am. Just go away, you don’t need to see me or be worried. I’m fine. I keep it in my head because I don’t want you to worry I’m fine I’m fine really it’s okay just go I don’t want food no thank you though I really do appreciate it. I promise I’m fine. She walks down the steps and everything is cracking. The stairs are so old they sag in the middle. Years of wear and tear. Years of running, from each other, from outsiders, from ourselves, from unknowns. It’s a scary place in this house. The hallways hold monsters who will jump out at you if you aren’t prepared. They always know. I’m the one they usually get. I don’t know why. Maybe everyone else is just better at not seeing. They seem to be fine with not seeing. I don’t know how they do it. I want to not see. I want to unsee. It’s too late. Let me unsee the things I’ve seen. Let me unhear the words that tied the noose around my neck. I’m just going to lay down for a while. My back is hurting. My lips are cracked and bleeding but I don’t know how that can be because I haven’t bitten them today. They just are bleeding and it hurts but not really because I don’t feel it. No actually I do. Because I feel everything. The pillow is so light and fluffy and sweet that I feel it too. Oh, my head is hurting. Why am I laying here? Why is the light shining through the blinds like that? The lines it makes are heartbreaking. No one else thinks this. No one else sees this. I’m going to sit up now. Oh. The clock says I laid there for an hour. How did that happen? It was just a minute because the softness became uncomfortable. How is that possible? That it was uncomfortable and that an hour passed? What is New sliding patio doors - inside View of new sliding patio doors, from inside the kitchen. The doors have retractable mini-blinds between the thermal glass panes. (It faces west.) Our male Seal-Point Siamese kitty, Leo, is sitting in his favorite spot, on top of the kitty condo with the afternoon sun shining through. All three cats thoroughly enjoy the new doors - especially in the evening with only the screen door between them and all the sights, sounds, and smells from outside. Related topics: horizon shade khyam awning shade garden portable car canopy canon rebel remote shutter release glass beaded lamp shades 10 x 12 gazebo canopy replacement hunter douglas blinds sale first up canopy sidewalls awnings columbus ohio |
BUILDING A WOOD AWNING. BUILDING A
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Building A Wood Awning. Thermal Shades Building A Wood Awning
American Tract Society Building Civic Center, Manhattan The American Tract Society Building, at the southeast corner of Nassau and Spruce Streets, was constructed in 1894-95 to the design of architect R. H. Robertson, who was known for his churches and institutional and office buildings in New York. It is one of the earliest, as well as one of the earliest extant, steel skeletal-frame skyscrapers in New York, partially of curtain-wall construction. This was also one of the city's tallest and largest skyscrapers upon its completion. Twenty full stories high (plus cellar, basement, and three-story tower) and clad in rusticated gray Westerly granite, gray Haverstraw Roman brick, and buff-colored terra cotta, the building was constructed with a U-shaped plan, having an exterior light court. Combining elements of the Romanesque and Renaissance Revival styles, the design, with two similar principal facades, has an overall tripartite vertical scheme, but is also arranged in six horizontal sections. A three-story arcade, open at the top story and with winged caryatids at the upper corners, surmounts the western half of the building; a three-story hipped roof tower rises through the arcade, creating a picturesque feature in the skyline of lower Manhattan. The building's visibility is heightened by its corner location near City Hall Park and adjacent to Printing House Square. The American Tract Society, founded in 1825 to publish and distribute religious tracts and literature, built on this site that same year. It emerged as one of the largest American publishers prior to the Civil War. The vicinity of Park Row and Nassau Street, center of newspaper publishing in New York City from the 1830s through the 1920s, was redeveloped, beginning in the 1870s, with a series of important tall office buildings. The American Tract Society Building, planned as a speculative venture when the Society was experiencing financial decline, was intended to provide it with a large rental income to continue its missions. The Society moved out, however, in 1914 and lost its building through foreclosure. The lower portion was leased to the publishers of the New York Sun from 1914 to 1919. The American Tract Society Building, with principal facades on Nassau and Spruce Streets, was constructed with a steel skeletal frame and is partially of curtain-wall construction above the fifth story on the street facades and above the thirteenth story on the secondary facades. Twenty full stories high, plus cellar, basement, and three-story tower, it is clad in rusticated gray Westerly (R.I.) granite on the five-story base, and gray Haverstraw (N.Y.) Roman brick and buff-colored terra cotta on the upper stories. The principal facades, five bays each, are articulated in a similar fashion below the upper section. The building has a U-shaped plan above the fifth story, having an exterior light court to the south. Combining elements of the Romanesque and Renaissance Revival styles, the design has an overall tripartite vertical scheme, but is also arranged in six horizontal layers. The structure is surmounted by an arcade and tower on the western half. Windows are one-over-one double-hung wood sash. Base The five-story (plus basement) base is clad in rusticated granite on the principal facades, which are similar in articulation. The base is divided into two horizontal sections. The first and second stories have a large round arch in each bay (except for the main entrance on Nassau Street), within which is rectangular fenestration on the ground floor, a stone spandrel panel, and a second-story window flanked by colonnettes and sidelights. This lower section is capped by a band course ornamented with a fret motif. The upper section (third through fifth stories) has colossal paired arches in each bay with a smooth-faced granite pier with stylized capitals, decorative spandrels, and fifth-story wrought-iron grilles. Air conditioning vents have been inserted into the spandrels above the third story on the Spruce Street facade and a portion of the Nassau Street facade. This section is capped by a decorative band course. Ground Story: Nassau Street The original elaborate, projecting two-story main entrance portico consisted of paired Ionic columns supporting a heavy decorative entablature, which was surmounted by a large round-arched transom, bearing the inscription "The American Tract Society Building," flanked by spandrel sculptures of robed, winged female figures. This entrance portico was altered in 1912 (Alt. 174-1912, T. Markoe Robertson, architect), and in 1955, a two-story flat marble veneer surround (BN 2635-1955) was installed. The entrance currently has non-historic anodized aluminum and glass doors with sidelights and transom. The two original storefronts had entrances in the outer bays, with double doors and transoms, while the bays between the main and storefront entrances had display windows above bulkheads. Currently, the bays on this facade contain S. Jarmulowsky Bank Building Chinatown, Manhattan Called “the first strictly high-class tall bank and office building” on the Lower East Side, with a design “equal in every respect [to] the highest grade banking buildings throughout the city,” the S. Jarmulowsky Bank Building was completed in 1912 as the architectural showpiece of one of the neighborhood’s most prominent bankers. Born in 1841 in what was then the Russian province of Lomza, its owner, Sender Jarmulowsky, established his business on the Lower East Side in 1873 and was operating at this location by 1878. Known for his honesty and conservative financial approach, Jarmulowsky grew wealthy over the following three decades providing steamship tickets and banking services to the immigrants of the surrounding neighborhood, which was unrivaled as the world’s largest Jewish community. He was also one of the Lower East Side’s leading philanthropists, playing an instrumental role in the construction of the Eldridge Street Synagogue, and serving as its first president. In 1911, the firm of Rouse & Goldstone filed plans for this twelve-story building, which towered over the tenements of the Lower East Side when it was completed the following year. A pioneer in introducing the prevailing skyscraper aesthetic of New York’s major office districts to the neighborhood, the S. Jarmulowsky Bank Building was executed in the “modern Renaissance style” and the tripartite configuration that was standard for tall buildings of the time. Accessed through a classical corner entrance, Jarmulowsky’s banking hall and offices were housed in the building’s rusticated stone base; manufacturing lofts occupied the rest of the building, including its ornate terra-cotta crown. Sender Jarmulowsky died shortly after the building’s opening, and his bank failed in 1917. The building was then sold by his sons, and continued to house a variety of industrial tenants into the twenty-first century. Today, the richly decorated S. Jarmulowsky Bank Building remains one of the area’s tallest and most distinctive buildings, and one of a handful of structures that “encapsulate the Jewish immigrant experience” on the Lower East Side. Manhattan’s Lower East Side The Lower East Side of Manhattan is one of New York’s, and the country’s, most storied neighborhoods. Historically defined as the area east of Broadway, extending from the vicinity of the Brooklyn Bridge north to 14th Street, its name is synonymous with the American immigrant experience. Although immigrants from around the world, from East Asia to Western Europe, have settled on the Lower East Side since the mid-nineteenth century, the neighborhood is most strongly associated with Jewish history and culture: from the 1880s to the 1920s, it was the country’s center of Jewish life and “the single largest Jewish community in the world, unrivaled … in terms of the sheer number of Jews who lived in close proximity to each other.”2 The historic core of this community was present-day Straus Square, located at the intersection of Canal Street, Essex Street, and East Broadway, just east of the skyscraper constructed by Sender Jarmulowsky for his bank. Prior to the arrival of European fur traders and the Dutch West India Company, the neighborhood, like much of the Metropolitan Region, was populated by bands of Lenape Indians, who had an encampment in what would come to be known as Corlears Hook on the Lower East Side. Under the Dutch, the Lower East Side was divided into several large farms that were worked by slaves. By the mid-1700s, with New York under British control, the 300-acre farm located roughly between present-day Division and Rivington Streets was owned by James DeLancey, who served as Chief Justice, Lieutenant Governor, and Governor of New York Province. (His slave, Othello, was hanged as a conspirator following the slave uprising of 1741.) Upon DeLancey’s death in 1760, his son, also named James, inherited his property; the land was soon surveyed into blocks and lots, and Stanton, Delancey, Grand, and Rivington Streets were laid out. A British Loyalist, DeLancey left New York for good in 1775, and after the Revolutionary War, his lands, like those of other Loyalists, were confiscated and sold off by the State. The S. Jarmulowsky Bank Building stands on property that was once part of the DeLancey farm, at the southwestern corner of Orchard Street—named for the DeLanceys’ “magnificent orchard”—and Canal Street, named for a canal constructed in the early nineteenth century to drain the fetid Collect Pond just north of City Hall. Commercial buildings and residences for craftsmen and laborers were being constructed on the former DeLancey estate by the beginning of the nineteenth century, and by the 1820s, the Lower East Side was a desirable area. By the 1840s, the affluent had started abandoning the area south of Houston Street, and the neighborhood’s first purpose-built tenements were being constructed as increasing numbers of immigrants settled on th Related topics: make hurricane shutters blinds perth gazebos canopies waterproof window blinds kids drapery rods shade buddy umbrella ripplefold drapery golden blonde hair shades |
CHELSEA COLLECTION DRAPERY PANEL : CHELSEA COLLECTION
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Chelsea collection drapery panel : Awnings mississauga. Chelsea Collection Drapery Panel
Draperies Draperies can be seen hanging from the ceiling. © 2008 Steven M Wagner Chelsea kit collection Chelsea kit collection Related topics: canon rebel remote shutter portable outdoor canopies awning system windows with shutters antique tiffany lamp shades jones tent and awning shutter screens |
CANOPY BEDS SETS : CANOPY BEDS
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Canopy beds sets : Drape swag. Canopy Beds Sets
D' Luxe Decor - Bedroom fit for a Queen This is the bed of the owner of D' Luxe Designs. I saw this bed room set in a magazine and had to find it for my house. I love the leather on the headboard and footboard. dusstilldaan bamboo 4 poster canopy bed 1 featuring...dusstilldaan bamboo 4 poster canopy bed,bedding,platter,candle holder,and wicker lamp... Related topics: shutter shades metal bed canopy cool shade canopy abc awning fireplace canopies retractable car window shade goblet drapes florida storm shutter mini lamp shade |
LAMPS LAMP SHADES. LAMPS LAMP
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Lamps lamp shades. Disney princess toddler bed with canopy Lamps Lamp Shades
Lamp Shade Lamp shade in our house Lamp Shade My bedroom lamp shade. Related topics: cotton roman shade mosquito net bed canopy 10 x 10 canopy tent commercial security shutters bayliner canopy white silk drapes timber shutters brisbane |
COUNTRY DRAPES - DRAPES
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COUNTRY DRAPES - WINDOW DRAPES CURTAINS - TRADE SHOW CANOPY Country Drapes
Malarayat Country Club Malarayat Country Club accepts out of town wedding receptions. We use all martini glasses as flower containers for the whole reception. Cypress tree draped in Spanish moss Cypress tree draped in Spanish moss, St Martin Parish, Lake Martin, Louisiana, USA, # LA-22-9 Related topics: how to install venetian blinds davis tent awning barrel lamp shade bali fabric vertical blinds window blinds software draperies curtains replacement tarps for canopies |
CUSTOM WOODEN SHUTTERS : WOODEN SHUTTERS
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CUSTOM WOODEN SHUTTERS : MINI BLINDS FOR PATIO DOORS : BIFOLD INTERIOR SHUTTERS. Custom Wooden Shutters
customs house 1 Let there be light. The second floor of the old Customs House is relatively cool as long as a breeze is blowing and the window shutters are open. Wooden Shutters Custom made wooden shutters Related topics: auto shutter vinyl bermuda shutters custom velvet drapes county shutters black out draperies unfinished plantation shutters rolling steel shutters insulating shade blinds in doors shade loving vines |
HARDWARE FOR ROMAN BLINDS : HARDWARE FOR
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Hardware for roman blinds : Blinds shop. Hardware For Roman Blinds
Isetan MK HOME MK HOME collection for ISETAN Department stores. 10 boutiques across Japan. free blinds vinyl or plastic roman shades with hardware for hanging. 6'W x 7'L Related topics: green silk drapes bamboo shades for windows affordable awning hurricane window shutter 2 pvc blinds black and white polka dot drapes colonial hurricane shutters torchiere replacement shades just blinds redi arch pleated fabric window shade |
DRAPES FOR BED : DRAPES FOR
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Drapes For Bed : Roll Up Shutter Parts Drapes For Bed
Ohio Star Batik Quilt Here is another one of my beautiful quilts. This is an excellant example of using batiks in a traditional quilt pattern the Ohio Star. These cottons are of high quality content and retains the colors. It is perfect for any size bed, draping over a sofa for those cold nights or nippy summer evenings out by the fire. The colors of the quilt are of various shades of rich green tones and beautiful pinks and purples.It is versatile enough to use year around. This is a machine pieced and quilted blanket with an all over stippling pattern done in a neutral tone thread. The binding is hand sewn. I hope you love this cozy quilt as much as I do. Please note that fabrics sometimes vary but I will do my best to try and match. Please convo me so that we can discuss your order before it is placed. Other colors available upon request. This is a custom order quilt...I size the top of the quilt so that the pattern is displayed on top of the bed and then bordered with the corresponding fabrics to highlight the design. The border fabrics then flow over the sides of the bed/drop and over the pillow. Separate pillow shams can be made to match the quilt. All measurements are confirmed before the quilt is made. This is not a scrappy quilt without any borders/sashing. It is designed to be a keepsake heirloom quilt to enjoy for many years. -size buyers choice -made of 100% cotton fabric and batting, -machine wash cold; tumble dry low, -pieced and quilted in a smoke, pet and pesticide free environment -quilting is done using a long arm quilting machine Jonah's got a thing for bed posts Nikonians at Acosta Pastor Ancestral Home, Batangas City, Philippines. Model: Jonah Makeup: King Related topics: drapery in art partial shade deck shade cover canopy tent rental how to make lined drapery panels shade ceiling lights canopy replacement part |
DESIGNER SHADES FOR CHEAP - FOR CHEAP
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Designer shades for cheap - Roll up window shutters - Cheap wooden blinds. Designer Shades For Cheap
Mcgraw-Hill Building Midtown, Manhattan, New York City, New York, United StatesThe 35-story blue-green McGraw-Hill Building sitting in the midst of parking lots , tenements and a bus station on the west side of Midtown, has been unique since its completion in 1931. Since its creation, the building has been hailed as New York's first monument to the International Style, reclaimed by proponents of the Moderne, and decried as an ugly "green elephant. It has been thought the key to great developments on the west side, and lamented as an "overinprovement" for a hopelessly depressed area. As a design, it was the product of the gradual shift in architectural taste from the machine-age abstract decorativeness of the Moderne or Art Deco style to the corporate-age utility of the International Style, and of the constantly innovative and growing architectural genius of Raymond Hood. As a real-estate venture it was the product of the forces of extraordinary corporate growth in the 1920s which saw the merger of two small independent specialist publishing houses into a giant institution, and of the efficiency and economy-mindedness of James H. McGraw.McGraw-HillJames Herbert McGraw (1860-1948) and John Alexander Hill (1858-1916) were pioneers in the publication of specialized journals for the electrical and engineering fields.- Hill, originally from Sandgate, Vermont, grew up in Mazcmanie, Wisconsin; after working as a railway engineer out west he came to New York City in 1888 to join the American Machinist Publishing Company. He quickly became editor of Locomotive Engineer. buying it in 1891 and going on to build the Hill Publishing Company (formed in 1901) which, by the tine of his death, was publishing five major engineering journals: American Machinist, Power, Engineering News, Engineering and Mining Journal, and Coal Age. In 1914 he built the twelve-story Hill Building for his growing company at 469-473 Tenth Avenue at 36th Street, and incorporated into it several innovations—including an early version of air conditioning combined with unopenable windows.McGraw and Hill first joined forces in 1909. Each had branched out into the publication of engineering books, and in that year they merged their side-line operations into tiie McGraw-Hill Book Company -- a flip of a coin determined that Hill would be its president and that McGraw's name would ccme first in the new company's name. Following Hill's death in 1916 the two journal-publishing companies, which had been major rivals, considered merging as well, and in 1917 the McGraw-Hill Publishing Company cane into being, with James H. MoGraw its president.McGraw-Hill expanded tremendously over the next twelve years. The new company moved into the Hill Building at Tenth Avenue, and sold the McGraw ruilding to the United Publishing Corporation, although the Book Company .remained as tenant until 1921 when it moved into the Penn Terminal Building at 370 Seventh Avenue at 31st Street. With the United Publishing Corp. the company purchased the Newton Falls Paper Company in 1920. In 1926 McGraw-Hill Catalog and Directory Conpany, Inc., was formed. By 1929 McGraw-Hill was publishing over thirty journals, and its branches were spread all over New York City. The publishing company was becoming cranped for space in the old Hill Building, even though a thirteenth story had been added. The building's elevators could not handle the increasing loads. Even after the freight elevators had been adapted for passenger use, a memo was sent out requesting employees to walk up one and down one or two flights to help free up the service.Clearly a new building was called for. In October 1929, a new building committee was appointed by the Board of Directors which was now chaired by James McGraw. The following year the Annual Report announced:The present headquarters building has long been outgrown; offices of the Book Company, McGraw-Hill Catalog and Directory Company, the Business Publishers International Corporation, the Circulation Department, and Atlantic District Sales staff of the Publishing company being located at different addresses in New York City. For the purpose of bringing all these units under one roof and effecting substantial economies in operation and improved efficiencies in administration, a thirty-three story modem office building is now being erected by an associated company, in which we will be the principal tenants under a favorable lease. It will occupy a plot of ground containing approximately 50,000 square feet can West Forty-Second Street extending through to ^orty-First Street between Eighth and Ninth Avenues and will provide every facility for the complete publishing operationSiteThe site of the McGraw-Hill Building is one of its peculiarities — the location of a tall office building west of Eighth Avenue was as much an anomaly fifty years ago as it is today. On the 42nd Street portion of the site were three four-story and two five-story tenement buildings Lamp shade trim Lamp shades for table lamps are important aspect of home design. Instead of replacement lamp shades start making lamp shades. You can make antique lamp shades, green lamp shades, silk lamp shades, red lamp shades, fabric lamp shades, vintage lamp shades, custom lamp shades, or even pink lamp shades. A little creativity can make inexpensive lamp shades, look like designer lamp shades. Show us how to make lamp cheap lamp shades, small lamp shades, mini lamp shades or large lamp shade. The sky and your imagination are the limit. All these lamp shades where made using decorative trims and appliqués from Expo International Inc. We are looking for designers to send us their ideas so we can post them in our corporate fashion gallery. Related topics: sunsational awnings aircraft sun shades roman shade ring tape plants for shaded gardens tiffany style lamp shades shutter install memphis shades replacement windshield aluminum door canopies |
HUNTER DOUGLAS BLACKOUT BLINDS - BLACKOUT BLINDS
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Hunter douglas blackout blinds - Laurel awning company. Hunter Douglas Blackout Blinds
miramar fl 10 room 3 3013 The third bedroom is great for a kid's room or guest bedroom, ample closet space, Hunter Douglas Blackout Blinds and beige Berber carpet. Blackout skylight blind hunter douglas blackout blind on my skylight. with remote control, baby. awwwwww yeah. Related topics: bamboo shade privacy liner replacement parts for blinds bird photography blinds balcony sun shade outdoor bamboo roll up blinds flea market canopy vertical sheer blinds |
INTERIOR FAUX SHUTTERS. INTERIOR FAUX
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Interior faux shutters. Velvet drapery panel. Round bed canopy. Interior Faux Shutters
WineShop The challenge was creating a wine store window. We did faux brick all around and grained wooden shutters to match the wood in the extensive wine cellar just to the left of this scene, in this upscale home. The finishing touch was the sign "Cafe Del Vino Fino", which was hand lettered in 24k gold leaf. A Poco Birdie Told Me So A faux window with shutters set the scene for this little birdie to stop by and say "hola!" A mexican inspired border wraps the entire restaurant in traditional flare. All hand painted for Casa Serrano in Lake Havasu. Related topics: cheap ground blinds hunter window blinds butterfly canopy radios canopy french patio doors with built in blinds metal canopys carefree of colorado rv awning the right shade of blonde sun awning uk sheer drapery panels |
LUXURY BED CANOPY. LUXURY BED
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Luxury bed canopy. Manuel antonio canopy tours. Shutters sydney. Luxury Bed Canopy
Happy Child at Wild Luxury Young girl in a canopy bed at Wild Luxury on the Norfolk Coast luxury le domaine de l'orangeraie, la passe, la digue, seychelles Related topics: baa baa blackout blinds paper shades motorcycle canopy 1800 blinds beach canopy for baby shade tolerant st augustine grass cleaning awnings cellular blackout shades |
LINEN CHANDELIER SHADE : CHANDELIER SHADE
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Linen Chandelier Shade : Awning Enclosure. Linen Chandelier Shade
SB6583PE 35.5" Tall table lamp. Linen fabric shade. Ceramic resin base. sgrajohn@gmail.com SB4855PE 29" Tall table lamp. Linen fabric shade. Metal base. sgrajohn@gmail.com Related topics: modern roman blinds glass ball lamp shade black shutter shades cordless bamboo shade electric skylight blinds replacement tent canopy blinds for a skylight window indoor wooden shutters roman shade valance 10 x 10 replacement canopy top |
MAKING LINED DRAPERIES - LINED DRAPERIES
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MAKING LINED DRAPERIES - OFFSET SHUTTER HINGES. Making Lined Draperies
American Surety Company Building Financial District, Downtown Manhattan, New York City, New York The American Surety Company Building, a key building in the evolution of the skyscraper, was erected to designs of the eminent architect Bruce Price between 1894 and 1896. Prominently sited at the southeast corner of Broadway and Pine Street, opposite Trinity Church graveyard, the building stands in the heart of the insurance district; the insurance industry played a major role in the development of this section of Broadway, at the same time fostering advances in skyscraper design. The American Surety Company, one of the leading bond insurance companies in the nation, erected the second highest building in the city. This was the first and most important tall building by Price and reflected his innovative ideas about skyscraper design. It was one of the first buildings in the city to incorporate such structural techniques as steel framing, curtain wall construction, and caisson foundation piers that carry a cantilevered steel foundation structure. Clad in Maine granite, the twenty-three story American Surety building features a rich neo-Renaissance decorative scheme that incorporates Greek elements such as the Ionic entrance colonnade and the severe classical sculptural figures, designed by J. Massey Rhind, at the third story. Credited by the noted architectural critic Montgomery Schuyler with popularizing the tripartite column analogy for tall buildings, Price's design for the American Surety Building set a model for tall buildings on corner sites in the 1890s and was a prototype for the freestanding tower skyscrapers of the early twentieth century. Between 1920 and 1922, as the American Surety Company prospered and expanded, the building was modified with the addition of four bays on Broadway and four bays on Pine Street and by the addition of two penthouse stories. Designed by the talented and inventive New York architect Herman Lee Meader, these additions matched Price's original design in material and articulation. DESCRIPTION AND ANALYSIS The Broadway Insurance District and the American Surety Building As New York became the nation's financial capital in the mid-nineteenth century, the banks and insurance companies that had traditionally clustered around the intersection of Broad and Wall Street began to move to new buildings on Broadway and side streets immediately to the north of Wall Street. These buildings were richly decorated, Renaissance-inspired, multi-story commercial "palaces," averaging about 65 feet in height. The first building to break with this tradition was the Gilman & Kendall and George B. Post headquarters building for the Equitable Life Assurance Company at Broadway and Cedar Street (1868-70, demolished) which rose to a height of 130 feet by making use of such technological innovations as passenger elevators, iron floor beams, and fireproof building materials. By 1875 New York had two other "skyscrapers," the Tribune Building (1873-75, Richard Morris Hunt, demolished) at 260 feet and the Western Union Building (1872-75, George B. Post, demolished) at 230 feet. Beginning about 1879, after a hiatus in construction following the financial panic of 1873, more owners began to replace older commercial palaces with larger elevator buildings. Insurance companies commissioned many of these new buildings. Factors that caused the insurance industry to take the lead in the drive for height included the companies' need to find outlets for their large capital reserves, their openness to innovation, and their recognition of the public relations value of a prominent and handsome home office building that would "establish in the public mind not only [the individual company's] name but also a favorable impression of its operations." In 1893, a guidebook writer observed that "the life corporations have been among the prime causes of the city's architectural growth, for the life insurance buildings of New York surpass the office structures of any city in the world." In addition, intense rivalry between insurance companies often manifested itself in architectural terms. In February 1894, the American Surety Company, then quartered in the Guernsey Building at 160 Broadway, announced that it had acquired the Continental Life Insurance Company's old site at Broadway and Pine Street and intended to construct a twenty-story building to the designs of Bruce Price. Just to the south of the site were the Schermerhorn Building and the United Bank Building. The New York Times's article on the plans for the new American Surety Building observed that it "will throw a shadow over all [the Pine Street insurance buildings], having for its only rival the mammoth structure of Manhattan Life Insurance Company, now building, which will be fifty feet taller but contain two less stories." The American Surety Company Until the 1880s, the business of underwriting had remained largely a Fashionista Taken at a flea market just north of Tampa, Fl. A young lady makes and sells these...very good work. 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U.S. Realty Building Financial District, Lower Manhattan The U.S. Realty Building, designed by Francis Hatch Kimball and built in 1907, is among the first Gothic-inspired skyscrapers in New York. Kimball's sensitive adaptation of this historical style established a sympathetic relationship between the earlier Trinity Building and its neighbor, Trinity Church, which is continued in the design of the U.S. Realty Building. An entirely freestanding, steel-framed structure, the U.S. Realty Building, like its near twin, the Trinity Building, anticipates the skyscraper "cathedral" tcwer type which emerged a few years later—of which the Wool worth Building is the most notable example. The spire of Trinity (hurch, the picturesque rooflines of the Trinity and U.S. Realty Buildings, and the Wool worth Building twer form a romantic ensemble and create a striking, Gothic silhouette on Lower Broadway. Kimball, who had worked with the English Victorian Gothicist William Burges, had won acclaim as a designer of theaters and churches before receiving several important skyscraper commissions at the turn of the century; these tall buildings are known for their important innovations in the technology of caisson foundations. His strong predilection for Gothic design and his engineering expertise made Kimball the ideal architect of for the U.S. Realty Building commission. Development of Lower Manhattan Since the seventeenth century, Lower Manhattan has been New York's center of commerce and finance. By the last decades of the nineteenth century, many major American businesses had established headquarters there, and by the early twentieth century, the skyline of lower Manhattan had been dramatically transformed as the early skyscrapers appeared. The advancement of elevator technology and new developments in structural engineering allowed architects to construct tall, spacious, and efficient office buildings, suited to the narrow sites of the island. In the 1880s and 1890s, Broadway became the main artery of the district. Insurance companies, conscious of their public images, were among the first to erect structures celebrating their wealth and prosperity. In 1898, the five boroughs were consolidated into Greater New York, awakening a strong awareness of the city's history and a sense of civic pride on the part of the general public. At this time, there was also a growing mistrust of monopolies and big business practices were severely criticized. Large corporations attempted to counter such sentiments by erecting buildings that would give an impression of not merely financial stability but of trustworthiness, tradition, and integrity, in order to imply that big business served the needs of the public. As this new building type emerged, so did the need for appropriate stylistic and compositional expression. Architects found solutions in a variety of historical styles, but none was more pervasive than classicism. The classical, tripartite division of the elevation into a base, a shaft, and a capital was widely accepted, in part because it could accommodate the large proportions of skyscrapers; the neo-Classical style was commonly employed for civic architecture, thus providing, by association, a positive image for the corporation. The Neo-Gothic Style Although the Gothic Revival was influential in the United States during the nineteenth century, the style was rarely employed for commercial architecture and early skyscraper designs. Contemporary architectural criticism focused on the notion that no single historical style could accommodate the variety of building types demanded by modem life, and until "a distinct system of architectural forms appropriate to our age and civilization" was found, historical styles should co-exist. Despite the acceptance of stylistic variation, Gothic was generally not considered to be relevant to the design of office buildings, prior to the erection of the Woolworth Building, (Cass Gilbert, 1911-13, a designated New York City Landmark). Although few, the early, Gothic-inspired skyscrapers were massive, stylistically innovative structures which proved to have a great impact on Manhattan's skyline. In addition to the Trinity and U.S. Realty Buildings, other outstanding examples of Neo-Gothic skyscraper design are Gilbert's West Street Building, (1905); Kimball's enormous City Investing Building, (1908, demolished); and the Liberty Tower by Henry Ives Cobb, (1909, a designated New York City landmark). The subjective connotations of the Gothic style—spirituality, scholasticism, fraternity, craftsmanship—seem to have little to do with an architecture of capitalism. As the "Commercial Gothic" developed, however, critics made formal, stylistic comparisons between the verticality and thrust of Gothic cathedrals, (particularly their spires), and skyscrapers. Due to their location next to Trinity Church, a sense of place and the picturesque qualities of the Gothic style were decisive factors i Bamboo Cutter Using a steel saw blade mounted on an improvised bent iron bar to cut bamboo into specific sizes, all bound to be window shades and those cute wind spinning decor found behind him. Taken during the Canon Photo Marathon Philippines. This year held in Tagaytay International Convention Center (TICC) last November 14, 2009. Yup not 2011 (as in the exif), it happens to be one of Canons requirement, to anti-date your cameras I guess to nullify industrious photographers who had all the time to go there beforehand and snap some images...smart move. One whole day, three themes, released one after the other. Submit one photo per team, no post processing, no RAW. Submit it straight off the camera. Filters and accessories allowed. Theme 1: (9:30-12:00) Envy the eagles for they can fly the open sky; Everything so huge would seem to grow smaller as they recede from the eye; A wider perspective would be a breath taking experience, Especially if its captured through our magnificent lenses. Theme 2: (1:30-3:50) Filipinos no matter where they go, be likely to leave a mark of his hard work and merit; The challenge is to capture his great efforts; impart his message through narrating photos. It can be the fruit or the remarkable deed; for it will surely receive an overwhelming remark on your spirit. Theme 3: (4:00-6:00) Tagaytay is known to be a city of character qualities. Look up and search for these moral traits. Related topics: sun shade for boats wood blinds vs faux wood blinds county shutters swag drapes venetian blinds cord xavier rudd light the shade sheerweave solar shades coolaroo square shade canopy bed sheer |
MOTORIZED OUTDOOR SHADES : OUTDOOR SHADES
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Outdoor Solar Shades - Motorized Custom Installation of outdoor window solar shades to block heat and UV rays. These are motorized for the customer and are operated by remote contol for the customer's ease. motorized motorized schwinn cruiser @ 4th ave bike swap Related topics: glow in the dark shutter shades window and door awnings what shade of red lipstick is right for me banded drapes blinds for small windows wooden shutters for inside windows used canopy tent cheapest vertical blinds sunshade reviews hardwood shutters |
WROUGHT IRON CANOPY BED FRAME : CANOPY BED FRAME
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