Virginia millworks flooring. Marble floor design ideas
Audel Carpenters and Builders Millwork, Power Tools, and Painting (Audel Technical Trades Series)
How to achieve a perfect finish75% (16)
You already know that the building isn't finished just because the walls are up and the roof is on. Interior details--flooring, stairs, trimwork, cabinets, fireplaces, and painting--finish the project and give it character. This guide clearly explains each step, discusses the tools involved, and even examines insulation, termite protection, maintenance, and how to set up a workshop that makes it all easier.
* Determine coverage rates for various paints and make the selection that fits your project
* Explore the advantages of paint spray guns and high-pressure water treatments
* Analyze types of insulation and choose one that provides peak efficiency
* Learn the pros and cons of different types of chimneys and prefabricated fireplaces
* Design and plan a workshop with the equipment and machinery you'll need for finishing
* Take advantage of an extensive glossary of carpentry and building terms
Residence of Finlay Ross; 821 North Waco Avenue in Wichita, KS
The Finlay Ross residence was designed and built by William Henry Sternberg in 1887. This drawing of the Finlay Ross residence at 821 N. Waco Avenue in Wichita, KS appeared in the 1887 Journal of Commerce and exemplified the abundance of very beautiful homes in Wichita in the late 1800s. Indeed the Journal declared Wichita to be the "City of Beauiful Homes" because of the plethora of such homes in Wichita - primarily designed and erected by one man, W.H. Sternberg (1832 - 1906). William Henry Sternberg designed and then began construction of this residence in the Fall of 1886 (completed in 1887) at the same time that he was building his own very similarly-styled residence at 1065 N. Waco Avenue. This is the only known image of the Ross residence to show the level and style of ornamental brickwork on the south side of the residence and in many ways, it's quite similar to ornamental brickwork on Sternberg Mansion which is a couple blocks north of this location. The brick work in the chimney columns is also similar to other Sternberg-designed and Sternberg-built homes. Common with upscale Sternberg-designed and built homes, this one makes extensive use of ornamental porches (especially on the 2nd and 3rd levels w/ functional porches being on the 1st level). Also consistent with Sternberg designs, the roof sections contains a a number of pitches broken with a wide variety of dormers - in fact no two dormers on this house are the same or even similar. Each is quite distinct in and of itself. Also true to Sternberg styles, we see the 1st and 2nd levels visually separated (in some areas) by fish scales, a large triangular pediment over the front entryway, tall highly corbelled chimney flues where the brickwork flows on through the second and first levels, use of multiple two-story bay windows, repeating angular geometric shapes particularly accenting porches and windows and more. The chimney columns visually confuse the eye by blurring the distinction between floors of the home. Whereas the floors of the home are fairly distincly identified by eaves and fish scales, the sweeping up-down design of the chimney columns overcomes the segementation of the floors and gives them an even taller and more impressive effect. Another design Sternberg used to add the appearance of height to a home (and it usually appears on the front of the home) is an area of "breaking" the roofline. This roof "breaking" design element be seen here on the front left of the home where the roofline "breaks" the geometry of the eaves and cascades on through the eaves. This design gives an impression of a large two-story enclosure or something large and impressive is on the inside of the home in this area. This roof "breaking" design can also be seen on the upper left front of Sternberg Mansion and the Mark J. Oliver home. While, individually, many of these designs were not unique to Sternberg, taken together as a whole they represent distinct and distinguishable design that flourished in the late 1800s in south central Kansas. In fact, when trained in Sternberg design, it's quite possible to positively identify Sternberg-designed homes merely by their style alone. Such is the idiosyncratic nature of his designs. Recognizing Sternberg's prior work experiences (i.e., owner of his own residential drafting and design business and co-owner of a large millwork factory), it's not surprising that he created elegant, high-style homes that tended to have a fairly significant amount of high-end ornamental gingerbread millwork. Sternberg grew up felling trees and cutting lumber in his father's lumber mill. It's been said that nobody knew the characteristics of wood as well as Sternberg. He was intimately familiar with various species and regularly used oak, pine, walnut and cherry in his homes. Having traveled the country and the world, Sternberg was well-acquainted with various housing styles and one can see in his homes a mixture of styles, many being adaptations from prior buildings he did. Sternberg also worked closely with a number of widely-known architects architects of the day including Isaac Gale Perry of New York and Stanford White w/ the notable architectural firm McKim, Mead & White. Perry is considered to have been the first "State Architect" in New York. In 1883, governor Grover Cleveland appointed him to oversee construction activities at the state capitol. Although Perry's official title was "Capitol Commissioner", by the mid- to late 1880s Perry had oversight responsibility for all state government building programs and he was commonly referred to as the "State Architect". Perry retired in 1899, and the New York legislature officially created the Office of the State Architect that same year in recognition of Perry's role. Stanford White (w/ McKim, Mead &White) was nationally known for his work on such structures asAttache Millwork Wall Base
Millwork Wall Finishing System includes more than 23 elements in all. Johnsonite carefully coordinates profile designs and guarantees color consistency form one batch to another, from one year to the next in your commercial flooring project.
This report was created for global strategic planners who cannot be content with traditional methods of segmenting world markets. With the advent of a "borderless world", cities become a more important criteria in prioritizing markets, as opposed to regions, continents, or countries. This report covers the top 2000 cities in over 200 countries. It does so by reporting the estimated market size (in terms of latent demand) for each major city of the world. It then ranks these cities and reports them in terms of their size as a percent of the country where they are located, their geographic region (e.g. Africa, Asia, Europe, Middle East, North America, Latin America), and the total world market.See also:
In performing various economic analyses for its clients, I have been occasionally asked to investigate the market potential for various products and services across cities. The purpose of the studies is to understand the density of demand within a country and the extent to which a city might be used as a point of distribution within its region. From an economic perspective, however, a city does not represent a population within rigid geographical boundaries. To an economist or strategic planner, a city represents an area of dominant influence over markets in adjacent areas. This influence varies from one industry to another, but also from one period of time to another.
In what follows, I summarize the economic potential for the world's major cities for "manufacturing millwork excluding wood windows, wood doors, and cut stock" for the year 2011. The goal of this report is to report my findings on the real economic potential, or what an economist calls the latent demand, represented by a city when defined as an area of dominant influence. The reader needs to realize that latent demand may or may not represent real sales.
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