AWNING FABRIC MATERIAL - AWNING FABRIC

AWNING FABRIC MATERIAL - BALI CELLULAR BLINDS - HOW TO SEW DRAPERY PANELS

Awning Fabric Material


awning fabric material
    material
  • Concerned with physical needs or desires
  • 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"
  • derived from or composed of matter; "the material universe"
  • Denoting or consisting of physical objects rather than the mind or spirit
  • concerned with worldly rather than spiritual interests; "material possessions"; "material wealth"; "material comforts"
  • Concerned with the matter of reasoning, not its form
    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
  • (awned) having awns i.e. bristlelike or hairlike appendages on the flowering parts of some cereals and grasses; "awned wheatgrass"
  • 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
  • a canopy made of canvas to shelter people or things from rain or sun
    fabric
  • Cloth, typically produced by weaving or knitting textile fibers
  • framework: the underlying structure; "providing a factual framework for future research"; "it is part of the fabric of society"
  • The walls, floor, and roof of a building
  • The body of a car or aircraft
  • artifact made by weaving or felting or knitting or crocheting natural or synthetic fibers; "the fabric in the curtains was light and semitransparent"; "woven cloth originated in Mesopotamia around 5000 BC"; "she measured off enough material for a dress"
  • A textile is a flexible material consisting of a network of natural or artificial fibres often referred to as thread or yarn. Yarn is produced by spinning raw wool fibres, linen, cotton, or other material on a spinning wheel to produce long strands.
awning fabric material - Fabric Cutter
Fabric Cutter & Sealer Hot Knife
Fabric Cutter & Sealer Hot Knife
This tool Cuts and Seals the fabric's edge so it will not fray. The Hot Knife Fabric Cutter comes complete with Tool, Cutting Blade, Blade Foot (Guide), Custom Case, and Cleaning Brush. This Heavy-Duty Tool is designed to cut Synthetic Fabrics, Sail Cloth, Webbing, Ropes, Cords and more. It heats up in seconds and is light weigh and easy to use. See the demo video on our web site after you get to the Hot Knife Fabric Cutter page. This is an industry tested and proven Hot Knife and is backed by Demand Products, an industry leader and innovator in hot knife tools since 1983.

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Maidan Isfahan Plan
Maidan Isfahan Plan
© Naghsh-i Jahan, or Maidan Square, and surrounds, Isfahan. In this part-historic diagrammatic plan The Imam (or Shah) Mosque is at the bottom, the Lotfollah chapel Mosque on the right, the daulatkhane royal precinct including Chehel Sotoon to the left the Ali Qapu Palace on left of the Square, and the Isfahan Bazaar upper end. The Octagonal shrine Tauhidkhane is now School of Art North to top. The proportions of the Square are double Golden Mean. ..........Safavid Capital urban design of Shah Abbas, late 16th C: But now for the big change at this cultural crossroads — the wonder of Isfahan! — the “porcelain places” and urban design of the Royal city. The mosques for instance, famous for their gracefulness and interplay of geometric design, and architectural light and shadow in this sun-strong climate. This was the reign of Shah Abbas the Great when he made Isfahan capital again. A complex of integrated squares, avenues, garden-parks, and architectural structures was planned with the personal involvement of the sovereign. Dictatorial power, but worked with the people and their lives. Abbas reinforced the image of the Safavid polity with the design of his new capital. As early example, from the old Seljuq city centre to the north, he built a two-kilometer-long market-bazaar to a new town Square called the Maidan-i Shah, located nearer the Zayandeh River. (See plan above.) But the first element I came to was the Chahar Bagh: (Meaning Four Gardens) this is a grand straight avenue. When Shah Abbas changed the capital to Isfahan, he decided to pour all the country’s artistic wealth into the centre. This boulevard is the most historically famous in Iran; it connects north of the city to south and is about 6 kilometers long, tangential to the river. The idea consists of four quadrants divided by flowing waterways or pathways. (The old town had four sectors.) Here, as well as access, it was used to entertain powered dignitaries. This elegant main street was 50m wide, with canal down the middle, originally filling onyx basins, with rose-plantings and trees. Further gardens once graced pavilions on either side of this alignment. It inspired the Champs Elysee in Paris, as well as other Persian-style layouts. Today it’s a main-axis promenade of the townspeople, but also a clog-up of traffic and swarming of smokey bikes. Maidan-e Naqsh-e Jahan (meaning World Picture Square) or Royal Maidan Square: For heart of his new capital, Shah Abbas selected an open area south of the old core, and which already had a market space. This was taken as the centrepiece of the new city and he laid out an immense square, the Maidan-e Shah, 512metres long x 160m (second or third largest square in the world). It was completely surrounded by arcades and each side was marked by a monumental building: the entrance to the Great Bazaar and the Shah Mosque at opposite ends, and the Ali Qapu portal-Palace and the Lotfollah mosque on either side. (See plan above.) The Royal Square connected at its north end to the old city through the Bazaar entrance opening onto miles of vaulted passageways and stalls that eventually led to the historic Friday mosque. The Square was initially covered with sand for use as a polo-ground and for royal displays and diplomacies. But also to accommodate visiting caravans and market-trading – further, the great length of perimeter arcading provided for craftsmen and sales adding daily life. Remarkably complete, it became a city centre as a coherent civic place, a generous containment, not so much a contrast as a conjoined counterplay to the labyrinthine fabric of the old town. The meaning of the Maidan varied according to one’s life in the city. And as Shah Abbas unified greater Persia, Isfahan reached its pinnacle with parks, mosques, libraries, landscape gardens, and applied art, of international wonder. Yet the architecture developed out of earlier traditions and experience, renovating valued past elements where possible; an impressive testimony to the level of cultural life during the Safavid era. To achieve the Shah’s vision quickly, there were some construction details that may appear stage-set, yet the ancient Friday mosque well to the north shows that there was a tradition in this where materials were limited and a desire for wholeness all-important. The square combines elements into an integrated unity, in turn linked into the rest of the city. Despite its large size, it achieves human scale, both through its variety of activities and judgement of architectural heights. The surround arcading for instance is just the right two-storeys for containment, while open above to mountain glimpses. But that rim of workshops and stalls is also a line of human action, under rhythmic arcading. The highlight buildings have their own distinction, but are not stand-alone; they’re tied into the whole composition which is in turn integrated with the greater town. And there’s an interplay between axial symmetry and asymme
Samarkand, melon seller
Samarkand, melon seller
One of several shots SPG took in the marketplace at Samarkand, and one can see why SPG took this photo in particular, as the colours of the melons make an immediate strong impression. In the stall next door (which has bunches of grapes and a basket of what looks like pomegranates) there is some kind of official looking paper stuck on the back wall, and this I would guess is the equivalent of a business license, issued by the city authorities. Our enterprising melon seller doesn't have any such paper prominently displayed. The melons are wonderfully arranged, so that one gets the impression that he is sitting in an orange cave. The melons hanging from the roof of the stall are not held in place by ropes, but by strips of fabric, or of the same material used to make the woven-work mats on the awnings. A couple of lone strips show where he's sold some melons. Since the fruit is seasonal, one wonders what this fellow sells when melons are not in season (which can only be for a few weeks a year). My guess? I don't really have one. He could be a melon farmer whose rented this space to move his product; or he could be merely an enterprising merchant who goes around buying up and then selling whatever looks like it will give him a quick turnover. And keep in mind that the produce we see in the picture would scarcely fill a tiny field. On the walls of the stall, and forming the awning, we see woven mats of a raffia-like substance. The same type of mats, rolled and stacked, also show up in an earlier picture, that of the old man in the snow. Evidently, the market was diminished or even closed during the cold months. The difficulty, as often with these photos, is the wide range of exposure within a single frame, with the back of the shop / stall almost completely dark, and the street itself hot, bright and easily blown out. Adjusting the exposure took a lot of work, and wasn't completely successful; however, by de-saturating some of the darker areas of the plate, I was able to prevent them from shifting too much towards undifferentiated blobs of green and purple. As well, the street, the awning and the wall were darkened somewhat and recontrasted to bring out detail that was present, but washed out on first production of the image.

awning fabric material
awning fabric material
54'' Wide Dupioni Silk Awning Stripe Brown/Taupe Fabric By The Yard
Dupioni silk fabric has a lustrous sheen and characteristic small slubs that run horizontally across the fabric. It falls in soft folds when draped and is the most versatile fabric we carry. Not only do many brides choose dupioni silk fabric for themselves and their bridesmaids it is also perfect for blouses jackets skirts handbags and dresses. Be creative with beautiful home decor accents (draperies swags pillows and duvet covers). The stripes are approximately 3.75'' wide colors include shades of taupe and brown.

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