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Bissell 3106A Featherweight Lightweight Vacuum
Bissell Featherweight Lightweight Vacuum78% (17)
A remarkably lightweight cleaning unit, the Featherweight stick vacuum from Bissell offers dual functionality in one slim little machine. Suitable for bare floors, draperies, upholstery, and low-pile carpets, the Featherweight converts easily from a floor vacuum to a hand vacuum and includes a crevice tool for tight corners. Completely bagless, the unit collects debris in a dust cup with a washable cloth filter. When the cup fills up, you just pop it off and empty it. Handy for small areas or anyone who needs a lightweight cleaning tool, the Featherweight stands 44-1/2 inches high and has a 9-1/4-inch nozzle. It comes with an ergonomically designed grip, and Bissell includes a limited one-year warranty. --Emily Bedard
So we're back to the home repair pix (since I’ve finally gotten back to working on it every day). The last person (people?) that worked on the apartment (whoever made the bathroom and ran the electric and stuff) ran the wire to the bedroom outlet right along the side of the tub and didn’t leave any extra wire to move it even an inch. So before I tried to fit the new tub in and found out something like its curved different and won’t fit in right because the wire is in the way or worse yet I damage the wire putting in the new tub and have to run a whole new one all the way back to the electric panel...I fixed the dumbness.Prague, Villa Muller
I ran the old wire through the one floor joist and up through the sub-floor in-between the wall studs and put it into a home-made “Handy Box.” A handy box is the metal box electricians use for all sorts of things including in-wall splices, which is what I decided was the best way to fix all of the problems going on here. Let me just say, I walked to the electric supply house (closed) and the 100 year old hardware store in town where I must have snuck in a door they forgot to lock because they had closed up as well but tried to help me anyway...they had the actual handy boxes but no covers for them. I didn’t bother making them do a sale for less than a dollar when I saw they had already cleaned out the cash register because I knew I could make the one you see here with the old metal wall outlet box (bottom right box) from the bedroom that I replaced with the new plastic one in this pic (top left box). I made the cover plate out of a piece of sheet metal I bought to use with my welder....just cutting and drilling, no welding required :o(
Anyway...once I got the old wire into the box I also fed in the wire that was going out of the old outlet box to power the other outlets in the room and twisted them together with a “Pig Tail” (The yellow wire in the photo), taped it all up and put it inside the metal box that had been screwed to the wall stud and screwed on the cover plate I made.
All that was left at that point was to put an outlet back into the bedroom box on the other end of the new wire I ran for it.
And that’s how I bought myself the extra foot of wire the original electrician should have had so that the electric wire for the bedrooms didn’t have to be stretched around the underside of the metal bathtub :o)
Especially given what a piss poor job they did with the tile on the plywood walls that let so much water through it completely rotted away the plaster and lath walls behind it. Dan said he’s done lots of bathrooms where it was so bad the bottom foot of the wall studs had rotted away too. I’m glad mine wasn’t that bad.
And yes, those are metal plates on the studs...you put them on where wires go through the studs so that you don’t end up putting screws into them when you are hanging the drywall or down the road hanging pictures or doing anything where you might be putting metal (screws, nails...whatever) into the walls.
Ok...this got WAY too long for a Sunday night post that almost nobody will look at anyway.
Completed in the same year as Le Corbusier’s Villa Savoye in Paris and Mies van der Rohe’s Villa Tugendhat in Brno, the Villa Muller is Loos’s defining modern house in an era when rich, progressive industrialists were the source of modernist commissions. In Loos’s case the client owned a building company pioneering the use of reinforced concrete, so the house was a particularly relevant showcase. While Frank Lloyd Wright was perfecting the seamlessness of the transition from inside to outside, Loos was deliberately keeping the public outside and the private inside of his houses as separate as possible. "The building should be dumb outside and only reveal wealth inside." Outside, the Villa Muller is distinguished by its cubic shape, with flat roof and terraces, its irregular windows and its clean, white facade. Inside, the Villa Muller is at once more traditional and more original. The materials are warm, rich and comforting, and the furniture a deliberately eclectic mix of traditional styles. The client is not required to conform to some all-consuming modern lifestyle. On the other hand the spatial planning of the building is where Loos was most innovative. The Villa Muller is, in Loos's own view, his best application of his spatial planning or "Raumplan": My architecture is not conceived by drawings, but by spaces. I do not draw plans, facades or sections... For me, the ground floor, first floor do not exist... There are only interconnected continual spaces, rooms, halls, terraces. Each space needs a different height. These spaces are connected so that ascent and descent are not only unnoticeable, but at the same time functional. This spatial design, finished with luxurious and vibrant marbles, woods and silks, “combined innovative architectural design with the cultural conception that the upper middle class had of itself” (August Sarnitz). Loos uses the different levels of the Raumplan to create a careful “architectural promenade” from outside to inside. The first entrance way is low, with strong but dark colors such as deep green/blue tiles. This opens onto a cloakroom area that is generous in plan, brighter with white walls and a big window, but still low. At the far end a short, modest staircase takes the visitor round a right-angle bend, emerging dramatically between marble pillars into the double-height, open-plan sitting room. The promenade continues past the raised dining room to the upper floors of the house, the Raumplan providing unusual and exciting views into adjacent rooms. On the top level is a roof terrace, with a “window” in the freestanding end wall to frame the view of Prague cathedral.
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