Permanent Awnings

permanent awnings
  • not capable of being reversed or returned to the original condition; "permanent brain damage"
  • A perm for the hair
  • continuing or enduring without marked change in status or condition or place; "permanent secretary to the president"; "permanent address"; "literature of permanent value"
  • permanent wave: a series of waves in the hair made by applying heat and chemicals
  • 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
  • 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
  • (awning) a canopy made of canvas to shelter people or things from rain or sun
  • (awning) A rooflike cover, usually of canvas, extended over or before any place as a shelter from the sun, rain, or wind; That part of the poop deck which is continued forward beyond the bulkhead of the cabin
permanent awnings - Sun Mart
Sun Mart Deluxe Screen House 12'x20' - Green
Sun Mart Deluxe Screen House 12'x20' - Green
12'x20' Green Screen Shelter-Brand New.

Enjoy it on your next camping trip or right in your own backyard!

-Stylish Screened Canopy offers a pest-free space for shade and comfort.
- Mosquito netting and 100% polyester canopy and supported with WHITE steel poles.
-The fabric is water repellent treated.
-Six zippered doors provide easy access. Comes with a carrying bag.
-The Screen house is packed into a carton about 32" x 12" x 9"
-Can be easily put in the car trunk for traveling.
-Ceiling height 114"
-Most of the poles are shock-corded together for ease of keeping them together
-GREAT for Camping, Family Gatherings, Wedding Receptions, Garage Sales, Events of all sorts"

**Not used as permanent structure.
**This Screen House is not made of waterproof fabric, nor is it designed for rainy and or windy conditions.

84% (11)
Peter Macchiarini Steps
Peter Macchiarini Steps
A word to the wise ain't necessary - it's the stupid ones that need the advice. Bill Cosby San Francisco has a history of naming its ugliest streets for famous people. Alice B. Toklas Lane is a scary alley that hosts drug dealers and hookers, Caesar Chavez Avenue is a run down street that primarily serves as a freeway onramp, and the Peter Macchiarini Steps are weather worn stairs fronting a decaying street. * Located near the Vallejo Street Stairway, the Peter Macchiarini Steps commemorate a San Francisco modernist sculptor and jeweler known for his depiction of the Emperor Norton. (The Emperor Norton was a San Franciscan who declared himself emperor and was known for making and distributing his own private currency.) The steps are two staircases that run on opposite sides of the shabby street. The upper end of the stairs afford a decent view of downtown. Aside from this one minor note, the Peter Macchiarini Steps offer little attraction. (*I suspect should I ever have the misfortune to become sufficiently famous to merit a street in San Francisco, they will select a trash-bin lined, sewage-leaking byway somewhere near a bar that discharges drunks to regularly piss against the walls under the street sign bearing my name. Of course, that pretty much describes Alice B. Toklas Lane, and I suspect I shall never garner as much fame as she. In summary, if Parisians honored artists in the same manner as San Francisco, the Picasso Museum would be a cattle yard.) Peter Macchiarini I was born to Italian parents on the Wohler Ranch, a hop yard and vineyard spread on the Russian river near Santa Rosa, Sonoma County on August 27, 1909. I attended grammar school and high schools in Sonoma County until the age of fourteen at which time my parents returned to Italy. There I took preliminary courses in the Italian language and having decided on an artistic career, took the entry examinations for the Art Academy Pietrasanta, Province of Lucca, and was accepted. At the Academy I received basic training in marble carving, clay modeling, architectural drawing and general sciences. In 1928 I returned to the United States and was gainfully employed as a stonecarver with several San Francisco Bay Area firms. I continued my art studies in San Francisco at the California School of Fine Arts, taking night courses. In 1936, I worked on projects under Beniamino Bufano and Ralph Stackpole. I first made jewelry in 1936 and ventured into the avant-garde aspects before World War II. I was not able to open my own business and devote my full time to making original contemporary until the end of the war. Since I was one of the first in the field of avant-garde jewelry at that time, in addition to doing the creative work it was necessary for me to put forth an extraordinary effort to build up a selective and discriminating clientele. It has been gratifying to me that my work and position with respect to creative design have consistently gained favor with the public a well as with museums and other art institutions. This has enabled me to maintain myself and my family by devoting all of my time to creative work. I helped organize and took part in the first San Francisco outdoor Art Festivals in Hoteling Place and the Ferry Building in 1939, 1940 and 1941. Because of its nature, the Art Festival fills a need for both artist and the public that the more structured form of the museum cannot encompass. Therefore I was also active on the committee in 1946 which secured city sponsorship of the San Francisco Art Festival and have taken part in every one during its existence. Over the years I have won more awards in the Art Festival than any other individual artist. I also helped organize the Berkeley outdoor show and took part in the first Sausalito festival. I was on the committee that organized the Upper Grant Avenue Street Fair, the first merchant sponsored art fair in the Bay Area, and have directed it many times. Although my current creative work and projects have prevented me from engaging in the teaching profession, I gained teaching experience by holding classes in my shop in the late 1940s. During the 1952 and 1955 six weeks summer sessions at Mills College, Oakland, California, I was an instructor in jewelry and metal sculpture. In 1953 I conducted a jewelry course in Lafayette, California. I have lectured extensively throughout the Bay Area on jewelry and metal work for various museums, private organizations, radio and television. My sculpture and jewelry are represented in the permanent collections of the State of California, the Oakland Museum and the City and County of San Francisco, and many private collections. Walter Benisek/Gallery, Montreal Museum, Metal Arts Guild of which I was one of the original organizers. Following is a list of exhibitions, prizes, articles and other activities I have had in connection with my work. Jewelry exhibits and competitions did not begin until the late Forties when sufficient ar
Amanda and Brad were married last summer but they came to Cuba to finally have their honeymoon. Amanda teaches at my school. We all loved it so much, as is evident in Amanda's joyful encounter with the beach when we arrived last Friday. I love the permanent heart of flowers planted in the sand. Bear with me..lots of "snapshots" from my trip coming along...

permanent awnings