VERTICAL ALUMINUM BLINDS - VERTICAL ALUMINUM

Vertical Aluminum Blinds - Contemporary Roller Blinds.

Vertical Aluminum Blinds


vertical aluminum blinds
    aluminum blinds
  • UpAlso called mini blinds, macro blinds, or micro blinds. Slats are curved aluminum and available in 1/2", 1", and 2" sizes. Aluminum blinds are one of the most affordable horizontal blind options.
    vertical
  • A vertical line or plane
  • at right angles to the plane of the horizon or a base line; "a vertical camera angle"; "the monument consists of two vertical pillars supporting a horizontal slab"; "measure the perpendicular height"
  • The distance between the highest and lowest points of a ski area
  • something that is oriented vertically
  • An upright structure
  • relating to or involving all stages of a business from production to distribution

Panhellenic Tower
Panhellenic Tower
Beekman Tower Hotel, Manhattan, New York City, New York, United States Prominently sited at the top of Beekman Hill, the Panhellenic Tower (now the Beekman Tower Hotel) is one of the great Art Deco skyscrapers in Midtown Manhattan. Erected in 1927-29 as a residence and clubhouse for women belonging to national Greek-letter college sororities, the Panhellenic Tower provided affordable housing for young college-educated women who were entering the work force in record numbers in the 1920s. Designed by the noted architect John Mead Howells, this striking modernistic building features a square-plan twenty-six story tower with chamfered corners and setbacks. The tower is renowned for its dramatic volumetric massing and bold vertical striping created by deeply recessed window-and-spandrel bays set between narrow piers which rise unbroken from a two-stoiy base to a parapet crown. Though sparsely decorated, the building incorporates handsome Gothic-inspired Art Deco ornament by the leading architectural sculptor Rene Chambellan. Description The Panhellenic Tower is located on a rectangular lot which extends 126 feet along Mitchell Place and eighty-one feet along First Avenue. The building occupies almost the entire lot except for a narrow service passage at the north end of the lot which extends eastward about twenty-five feet from First Avenue. The building is comprised of three distinct sections — the twenty-six-story hotel tower; the three-story wing, which originally contained a dining room and auditorium, now converted to apartments; and a ten-story apartment wing which was completed a year after the main building. Both the hotel and apartment annex have steel frames and are clad in brick. Generally orange-tan in color, the bricks vary in hue from buff to gray-brown and are laid in a Flemish-bond pattern. The Art Deco design of the building depends largely on the dramatic massing of the setback skyscraper tower and on the interplay of volumes and lights and darks created by the projected piers and recessed window bays. The ornament is concentrated at the base and top of the building and consists primarily of decorative brick pilaster strips and corbeling and the cast-stone Art Deco ornament. Most of the building's windows were replaced in the early 1990s except for the arched steel sash windows with leaded-glass lights at the second stoy of the tower and auditorium wing and twenty-sixth story of the tower. The Tower The twenty-six-story, seventy-five-foot-wide tower is basically square in plan at street level, but has an angled corner on First Avenue and Mitchell Place and an extension on the north side of the building adjoining the dining room-auditorium wing. The facades are articulated into seven bays. The five center bays set back at the third story to form light courts which are flanked by powerful angled corner bays. At the twentieth and twenty-second stories the corner bays set back to create balconies which are surrounded by brick parapets. At the twenty-fourth story the three center bays are set back and have balconies with brick parapets. The entire twenty-sixth story is set back and is surrounded by balconies which have been enclosed with glass and metal partitions on the east and west sides of the building. Base: The base is two stories high, except on Mitchell Place where the center three bays rise to three stories emphasizing the main hotel entrance. The angled southern corner at the intersection of the two street facades is recessed and contains the entrance to a ground story restaurant. The northern corner which was also originally angled and recessed has been filled with a one-story extension which is unarticulated. On Mitchell Place the triple bay is articulated by wide pilaster strips which terminate above the third story in a cresting of stylized cast-stone fleurs-de-lis and foliate moldings. Wide pilaster strips also are used at the ground story to frame the corner bay and the end bays on Mitchell Place and First Avenue. Narrower strips capped by cast-stone finials articulate the second story. In 1990-91 marble, travertine, and Diyvit facing materials, which had been installed at the ground story, were removed and the masonry on the base was repaired and repointed. Mitchell Place facade: On the ground story the brick pilasters articulating the three center bays are decorated with bricks with incised Greek lettering. A cornerstone at the base of the eastern pilaster is inscribed with the date "1928." The main hotel entrance at the center of the facade and the adjacent window bays have arched surrounds which retain their original shaped transom bars. The transoms contain backlit etched glass lunettes which are decorated with a stylized palmette pattern. The central entrance has deep brick-faced jambs. This doorway opens into a small vestibule with a travertine floor and travertine-faced walls; the ceiling is vaulted. There are light boxes at the base of the vault. At the rear
One Main Street, Walentas Building
One Main Street, Walentas Building
Dumbo, Brooklyn Features: Eleven bays on Main Street, six bays on Plymouth Street, and seven bays on Water Street; wide segmental-arch openings on ground floor; central three bay entrance on Main Street with two rectangular openings flanking a segmental-arch window and two blind segmental arches; segmental arches at second story level; abstracted keystones and brackets above arches; concrete bays to either side of entrance poured in imitation of rusticated stone blocks on lower two stories; concrete smooth above; cornice above second story; narrow central bay on Main Street flanked by wide rectangular bays, each with three windows; paneled incised spandrels beneath windows; facade reads as a series of eleven-story segmental arches; impost blocks above entrance; segmental-arch windows on eleven flanked by raised panels; raised roundels flanking tower; four-story, free-standing, central tower with round arches at the fifteenth story on all four facades; four restored round clock faces set into ornate foliate frames on sixteen; hip roof on tower; Water Street, segmental-arch vehicular entrances in third, fifth, and sixth bays; narrow fourth bay with two windows; seventh bay divided by horizontal concrete pier with recessed panel into entrance to left and two smaller recessed panels to right; seventh bay on upper floors 76 with two rectangular windows divided by concrete pier; two-story extension to east on Water Street with very wide segmental arch on first story and recessed rectangular panel on second story incised with “ROBERT GAIR COMPANY POWER HOUSE”; sixth bay on Plymouth Street with two rectangular windows separated by concrete pier; one-story, two-bay extension to east with rusticated concrete, segmental-arch openings, raised basement with two pairs of horizontal rectangular windows; above full floor is open concrete framework with two rectangular openings, piers, and cornice; modest cornice above eleventh story on all street facades and bolder cornice above twelfth story (except at tower); brackets support cornice at either side of tower; E-shaped eastern elevation arranged with long single openings with five windows in end branches, single openings with three windows in central branch, and three openings, each with three windows, in intermediate areas; single windows facing north and south in branches. Significant alterations: Windows replaced; loading docks and other openings on first story along Main Street, two westernmost bays on Water Street, and five bays on Plymouth Street converted to storefronts; some loading docks cut down to grade; iron cresting atop tower removed; new roof with skylights and gutter on tower; new canopy at entrance; new mechanical equipment on roof. History: 1 Main Street is the most visually dominant building in DUMBO due to its height, massing, and clock tower, and it is the dominant building in “Gairville,” the complex of factory structures erected in DUMBO by industrialist and real estate developer Robert Gair (1839-1927). Gair was born in Edinburgh, in 1839 and came to America at the age of fourteen. He worked as a clerk in a dry goods store in New York City before serving in the Civil War (he reached the rank of captain). In 1864 he opened a business as a paper jobber in New York and then, in partnership with George West from 1867 until 1876, he began manufacturing paper bags with square bottoms He also sold a wide variety of paper goods, many of which he also manufactured on machinery that he had constructed. However, it was Gair’s inventions relating to the manufacture of corrugated paper boxes that resulted in his firm’s growth. In 1870, Gair developed a machine for manufacturing corrugated paper and in 1879 patented a machine for creating folding boxes. According to what appears to be a paid advertisement in the 1924 publication New York: The World’s Metropolis, Gair “revolutionized the folded box business” by arranging “pliable metal rules, formed into the outlines of a box blank, [that] would cut and crease the cardboard, a number of such dies at each stroke of the press produced a group of blanks.” The folding box soon became a basic material for the packaging of food (the National Biscuit Company was an early client). In 1888, as production grew, Gair moved his production from Tribeca to DUMBO. Gair’s choice of a site on the northwest corner of Washington Street and Water Street was influenced by the recent move of his friend, coffee roaster John Arbuckle, to neighboring blocks (see 10 Jay Street). Like other manufacturers, such as Arbuckle, who moved from Manhattan to Brooklyn, Gair moved his family as well, purchasing a mansion on the corner of New York Avenue and Bergen Street in Crown Heights (demolished). The Gair firm expanded into the design and manufacture of a wide variety of packing products, including lithographed labels for cans and boxes. A 1922 advertisement in the Catalogue of the Brooklyn Manufacturers’ Industrial Exposition claimed that

vertical aluminum blinds
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