FLOOR TO CEILING BIKE RACK : CEILING BIKE RACK

FLOOR TO CEILING BIKE RACK : PEDAL FORCE BIKES.

Floor To Ceiling Bike Rack


floor to ceiling bike rack
    bike rack
  • The stand that holds bicycles in place in the transition area so a competitor can quickly get on his / her bike.
    ceiling
  • An upper limit, typically one set on prices, wages, or expenditure
  • the overhead upper surface of a covered space; "he hated painting the ceiling"
  • an upper limit on what is allowed; "he put a ceiling on the number of women who worked for him"; "there was a roof on salaries"; "they established a cap for prices"
  • The upper interior surface of a room or other similar compartment
  • The maximum altitude that a particular aircraft can reach
  • (meteorology) altitude of the lowest layer of clouds
    floor
  • All the rooms or areas on the same level of a building; a story
  • shock: surprise greatly; knock someone's socks off; "I was floored when I heard that I was promoted"
  • A level area or space used or designed for a particular activity
  • the inside lower horizontal surface (as of a room, hallway, tent, or other structure); "they needed rugs to cover the bare floors"; "we spread our sleeping bags on the dry floor of the tent"
  • a structure consisting of a room or set of rooms at a single position along a vertical scale; "what level is the office on?"
  • The lower surface of a room, on which one may walk
floor to ceiling bike rack - Topeak Dual
Topeak Dual Touch Bike Storage Stand
Topeak Dual Touch Bike Storage Stand
Display and storage racking for bikes.
Arms adjust 30 degrees
Quick-release for height adjustment
Stands fully extended at 10.5 feet or 123 inches

An elegant solution for storing your bikes, the Topeak Dual Touch Bike Storage Stand looks great in the house or in the garage. It includes two bike mounts with room for up to four mounts (extra mounts optional; not included). Bike holders adjust from 0-30 degrees to accommodate bikers with sloping up tubes and has a large knob that adjusts quickly and securely. The handlebar stabilizer keeps the front wheel from turning and the QR locking stepper foot secures the stand.
Features:
2 Bike mounts included
Holds maximum 4 bikes
30 degree adjustment on bike holders to accommodate bikes with sloping-up tubes
Handle bar stabilizer keeps front wheel from turning
QR locking stepper foot secures stand
Large knob adjusts quickly and securely
QR for height adjustment up to 10 feet, 6 inches
Folding: QR Clamps
Base: QR Rubber Covered Foot
Specifications:
Material: 6061 T6 Tubes
Weight Capacity: 39.7 pounds per mount; 158.7 pounds per stand
Dimensions: 17.3 by 7.1 by 126 inches (L x W x H)
Weight: 11.02 pounds

83% (19)
2008 California Academy of Sciences GGP
2008 California Academy of Sciences GGP
From the Academy's website... "The Academy is now the largest public Platinum-rated building in the world, and also the world’s greenest museum. The Academy earned the platinum rating (highest rating possible) for Leadership in Energy and Environmental Design (LEED). This commitment to sustainability extends to all facets of the facility - from the bike racks and rechargeable vehicle stations outside the building to the radiant sub-floor heating inside the building to the energy-generating solar panels on top of the building! On October 7, 2008, the U.S. Green Building Council awarded the Academy a Platinum-level LEED certification.The program, which stands for Leadership in Energy and Environmental Design (LEED), was launched by the council in 1998. The program enables all segments of the building industry to seize the opportunity for leadership by implementing nationally recognized guidelines for sustainable design and construction. In addition to demonstrating the values of the Academy, a LEED-certified building costs less to operate and maintain and—compared to a conventional building—can make a significant impact in reducing carbon emissions. Points for the coveted LEED certificate are awarded in five key areas: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. The U.S. Green Building Council offers four levels of LEED certificates (Certified, Silver, Gold and Platinum). They range from Certified, in which 50% of the points are achieved, to Platinum, in which 80% or more of the points are awarded. The Academy is now the largest public Platinum-rated building in the world, and also the world’s greenest museum with a total score of 54 points. Soil as Insulation The LEED program encourages and rewards architects who create innovative, imaginative energy saving solutions. Architect Renzo Piano achieved this in his design for the Living Roof. Not only does the green rooftop canopy visually connect the building to the park landscape, but it also provides significant gains in heating and cooling efficiency. The six inches of soil substrate on the roof act as natural insulation, and every year will keep approximately 3.6 million gallons of rainwater from becoming stormwater. The steep slopes of the roof also act as a natural ventilation system, funneling cool air into the open-air plaza on sunny days. The skylights perform as both ambient light sources and a cooling system, automatically opening on warm days to vent hot air from the building. Solar Energy Panels Surrounding the Living Roof is a large glass canopy with a decorative band of 60,000 photovoltaic cells. These solar panels will generate approximately 213,000 kilowatt-hours of energy per year and provide up to 10% of the Academy's electricity need. The use of solar power will prevent the release of 405,000 pounds of greenhouse gas emission into the air. Natural Lighting The expansive, floor-to-ceiling walls of glass will enable 90% of the building's interior offices to use lighting from natural sources. The glass used in these perimeter walls surrounding the public floor were specially constructed with low-iron content. This feature removes a common green tint, providing exceptional clarity. From almost any point inside the museum, visitors will be able to see the park outside in all its seasonal colors. The building will also feature operable office windows that employees can open and close as needed. On the main guest floor, an automated ventilation system takes advantage of the natural air currents of Golden Gate Park to regulate the temperature of the building. Throughout the day and night, louvers will open and close, providing fresh air and cooling the building thereby reducing the dependence on traditional HVAC systems and chemical coolants. Skylights, providing natural light to the rainforest and aquarium, are designed to open and close automatically. As hot air rises throughout the day, the skylights will open to allow hot air out from the top of the Academy while louvers below draw in cool air to the lower floors without the need for huge fans or chemical coolants. Radiant Floor Heating Warm air rises. A traditional forced-air heating system for the 35-foot-high public spaces in the museum would be wasteful in the extreme. Instead, the Academy is installing a radiant heating system in the museum’s floors. Tubes embedded in the concrete floor will carry hot water that warms the floor. The proximity of the heat to the people who need it will reduce the building’s energy need by an estimated 10% annually. Denim Insulation Insulation also keeps buildings warm. The Academy, rather than using typical fiberglass or foam-based insulation, chose to use a type of thick cotton batting made from recycled blue jeans. This material provides an organic alternative to formaldehyde-laden insulation materials. Recycled denim insulation holds more heat and absorbs sound
The Name of This Man Is
The Name of This Man Is
David Byrne Recognising David Byrne was the easy bit. He was the guy in the checked shirt and matching shorts, looking as if he was on day release from Sesame Street. The outfit, he said, was an impulse buy. “Then it became one of those things where I wondered if I could ever wear it.” But he had. And, teamed with white trainers, a white digital watch, and a professorial shock of white hair, it seemed to make sense. It was strange, but neat. Finding a quiet place to talk in the Roundhouse wasn’t so simple. First Byrne led me to the bar, which was empty, apart from the man drilling holes in the counter. Then he suggested we sit outside at a table, except that the rain was falling through the umbrellas. Byrne examined the cloudburst, then ambled back into the belly of the building, where two men were fiddling with a keyboard in the middle of the floor. He led me to a dressing room door, which he tried to open with a swipe card three times before it yielded. The room was tiny, windowless, and smelled strongly of perfume. There were folding chairs, so we sat down, facing the wall. “Mmm,” Byrne said. “This is cosy.” Byrne’s familiarity with the Roundhouse should not have been a surprise. He appeared there in 1976 with his band Talking Heads, on a bill with the Ramones and the Stranglers. It was Talking Heads’ first show in London. His abiding memory is of “gobbing.” The show took place at the height of punk, when spitting was in vogue. “I’m glad it’s gone out of fashion,” he says drily. Byrne’s fortunes have fluctuated over the last 30 years, but his reputation now is higher than at any time since Talking Heads split. Earlier this week, the live show celebrating his on-off musical collaborations with Brian Eno made its second visit to London, this time at the Barbican, where the after-show meet-and-greet attracted Radiohead’s Thom Yorke, who was delighted to meet Byrne’s girlfriend, photographer Cindy Sherman. (“I guess from his art school days, she was (is) an icon of sorts,” Byrne wrote in his online journal.) I asked Byrne whether his relationship with Sherman had affected his art. “Wow!” he replied. “I don’t know. Our tastes overlap quite a bit. Which is good! Not 100%, but that’s’ helpful. “But our ways of working are miles apart. That just amazes me too. She doesn’t work for a long period; maybe collects bits and pieces of things, then thinks about it – and then has a burst of activity, really focused, and boom! It’s done. “I’ll go from a music project to a book to an installation. Everything moves along at its own pace incrementally.” And has she influenced him? “Yeah,” he says, laughing. “I don’t know how. It’s not like she says, ‘Let’s play dress-up.’” Byrne is at the Roundhouse to install Playing The Building, which turns the fabric of the former locomotive turning shed into an (un)musical instrument. He has done it before, in Stockholm and New York, but the Roundhouse brings its own challenges. The fabric of the building is wired to an old organ, and as the keys are played, the building groans in response. “You can’t change it radically. It changes a little bit, depending on what girders there are, or how much ping you get out of the pillars. But buildings from this era all have very similar elements – cast iron pillars, cast metal girder supports, some old plumbing.” Since the Roundhouse’s expensive refit, gobbing is no longer encouraged, but perhaps the management should be wary. In a sense, this is punk art. “I like that it kicks away some of the preciousness of art. I thought people might be more timid. Once one person starts, and they see that nobody’s better at it than anybody else, then they jump right in.” Byrne’s other business in the capital is the launch of Bicycle Diaries, an intellectual travelogue recording the in-between moments of his travels, which he crams with visits to galleries and discussions with interesting people. The London chapter includes a cycle ride to Whitechapel to meet curator Iwona Blazwick, and he also finds time to admire the eccentricities of the hairy potter, Grayson Perry. Byrne seems well-informed about BritArt, and is diplomatic about the talents of that other punk artist, Damien Hirst, calling him clever. “Maybe not great art, but it’s great something-or-other else. “I once went to the Pharmacy restaurant, which was incredible. It was really perfect and clever and witty. I don’t know if it was art. It was the sort of thing that a great designer could do as well.” This visit to the capital has been no less productive. He and Sherman cycled to the V&A to see the design exhibition Telling Tales (a qualified thumbs up), and yesterday (Thursday) they biked to Southwark to see Roger Hiorns’ Seizure, in which a council house has been coated in copper sulphate. “It’s like the JG Ballard story where everything turns to crystal. The whole ceiling, doors walls – everything’s covered with pretty sizable crystals – pretty amazing! Pretty amazing! And

floor to ceiling bike rack
floor to ceiling bike rack
Swagman Hang It Bike Hanger
This handy bike storage allows you to store 2 bikes anywhere in the room. Expands to a max. height of 9 feet to brace against the floor and ceiling. Hooks can be set a varying heights and angles to hold almost any bike size or shape. Quick and easy to put up and take down.

Swagman 80690 Hang It 2 Bike Hanger accommodates up to two bikes for convenient storage. The Hang It 2 can be set at a maximum height of nine-feet to brace against the floor and ceiling. The bike hooks are height-adjustable to accommodate a variety of bike sizes and styles and the Hang It 2 is designed for easy set-up and take-down.

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