Windows with internal blinds : Shade swimwear

Windows With Internal Blinds

windows with internal blinds
  • Of or situated on the inside
  • home(a): inside the country; "the British Home Office has broader responsibilities than the United States Department of the Interior"; "the nation's internal politics"
  • happening or arising or located within some limits or especially surface; "internal organs"; "internal mechanism of a toy"; "internal party maneuvering"
  • Inside the body
  • occurring within an institution or community; "intragroup squabbling within the corporation"
  • Existing or occurring within an organization
  • (window) a transparent opening in a vehicle that allow vision out of the sides or back; usually is capable of being opened
  • (trademark) an operating system with a graphical user interface
  • (window) a framework of wood or metal that contains a glass windowpane and is built into a wall or roof to admit light or air
  • A computer operating system with a graphical user interface
  • Confuse or overawe someone with something difficult to understand
  • Cause (someone) to be unable to see, permanently or temporarily
  • Deprive (someone) of understanding, judgment, or perception
  • The blinds are forced bets posted by players to the left of the dealer button in flop-style poker games. The number of blinds is usually two, but can be one or three.
  • window coverings, especially vertical blinds, wood blinds, roller blinds, pleated blinds
  • A window blind is a type of window covering which is made with slats of fabric, wood, plastic or metal that adjust by rotating from an open position to a closed position by allowing slats to overlap. A roller blind does not have slats but comprises a single piece of material.

Ellerker House: Richmond Hill
Ellerker House: Richmond Hill
House, now a school. Extant c1680, remodelled internally early C18, altered c1790, remodelled 1809, as Gothick castle. Extended, with internal modifications 1830s, and 1860's, external rendering probably 1840's. Red brick, stucco rendered, roofs not visible. Three storeys attic and basement, the attic storey set back behind embattled parapet. Symmetrical in five bays, the central bay canted at upper storeys over porch. Facetted embattled turrets at the angles, facetted shafts flanking central bay, both with blind arrow slits. Continuous moulded cill band and moulded band to parapet, continuing at lower level across turrets to return elevations. Embattled porch with three- centred arch to front, pointed arches to sides. Panelled and studded door under three centred arch, the overlight of eight vertical panes each with arched head, all in moulded stone doorcase. Iron screen and gate with quatrefoil panels and spearhead finials, and similar attached railings. Windows all under hoodmoulds. Ground floor sashes with glazing bars, those to the upper lights pointed. First floor four pane sashes with slender glazing bars, those to the upper panes four centre arched with coloured glass spandrels. Second floor pointed headed three- light casements, each of three vertical panes. Central canted windows to first and second floors, at first floor fixed arched lights beneath paired overlights, some coloured glass, at second floor small paned casements with arched heads. Small paned windows, some casements, also under hoodmoulds, to embattled attic storey. Rear, formerly main entrance, the central bay breaking forward with plain parapet. Facetted turrets at the angles, continuous moulded first floor cill band, moulded band to parapet and to turrets. Central embattled porte cochere and first floor oriel. Porte cochere with offset buttresses; arched openings under hoodmoulds, now blocked, with fixed light windows and two-leaf door. Inner studded door similar to entrance front. Left hand ground floor and all first floor windows are all small paned sashes with slender glazing bars, as ground floor of entrance front. Ground floor right two-light casement with cusped upper lights; flanking window pushed out but retaining original upper lights internally. Oriel has cusped upper lights with brattished transomes. Second floor casements as front elevation. All windows except oriel under hoodmoulds. Pair of attic storey small paned replaced casements. Ellerker Road elevation, altered ground floor windows, now cloakrooms, upper floor windows beneath hoodmoulds, some casements as main elevations, one sash with glazing bars as main elevations, pair of full height casements, that at first floor and ground floor window both with blind boxes. Two storey wing to northwest, now school hall with classrooms above. Set back from main building on both elevations, stucco rendered, embattled, the upper storey set back. Richmond Hill elevation. Sash with slender glazing bars under hoodmould, as main elevation ground floor windows, first floor pair of four pane sashes as first floor front windows, again under hoodmoulds. Rear: ground floor full storey hall window of three lights with intersecting tracery, the upper lights cusped, with coloured glass, under pointed embattled parapet. Embattled upper storey, set back, with pair of three- light metal framed windows with pointed arched glazing bars, some top hung casements, both under hoodmoulds. Interior: Entrance hall, fluted Ionic screen the segmental arch with foliate plasterwork spandrels, Greek key soffit. Heavy enriched modillion cornice to front and rear halls, continuing on upper floors. Four broken pedimented doorcases each with eared architrave, enriched pulvinated frieze, doors of six raised and fielded panels. Shallow waterleaf moulded panels to walls, moulded dado, repeated on upper storeys. Inner iron gate to front door, detailed as outer screen. Front right (headmistress's study) marble chimneypiece with gothic panels, late C19 or early C20 grate with possibly French enamelled linings. Rear left, architraves using variety of mouldings appearing elsewhere in house, moulded panelled shutters, chimneypiece blocked but with raised overmantel panel, some C18 wall panelling. Very fine staircase rising through three storeys. Open well, carved tread ends, running as closed moulded string at upper landing, two balusters per tread, alternating fluted and cylindrical shafts, fluted newels, ramped moulded handrail with curtail. Panelled stairwell with Ionic pilasters to dado with ramped moulded rail. Above first floor large enriched panel with eared architrave, smaller enriched foliate swag and scroll beneath second floor stair window. First floor half landing garlanded shell moulding to soffit. First floor landing ceiling rose with reeded vine leaf moulding. Central doorcase to second floor has eared architrave with classical mouldings. Similar first floor central doorcase, partly covered when i
Normandy Apartments
Normandy Apartments
Upper West Side, Manhattan, New York City, New York, United States The Normandy Apartments is one of the most outstanding apartment buildings on Manhattan's Upper West Side. A large eighteen-story (with nineteenth-story penthouse) twin-towered structure overlooking the Hudson River, it dominates the vista of Riverside Drive. Designed by Emery Roth, and built in 1938-39, it was his last great work, as well as the last of the monumental pre-World War II apartment houses that are such an important element of the Upper West Side. Emery Roth was one of New York's most highly respected designers of apartment houses and hotels. A Hungarian-born immigrant, he trained in the offices of the major American architects Burnham & Root and Richard Morris Hunt, and maintained an active practice from the turn of the century up through World War II. Like most architects specializing in residential work, he received few commissions during the Depression years of the 1930s, but with the upturn in construction in 1939 he joined three partners in a syndicate to build the Normandy. The design of the Normandy Apartments reflects two diverse sources: the Italian Renaissance, in keeping with Roth's predilections for historical sources, and the Style Moderne that became popular in the 1930s. The Normandy incorporates Renaissance-inspired detail but combines them with forms and streamlining characteristic of the modernistic trends of the era. Occupying its entire blockfront on Riverside Drive, the Normandy is twin-towered, with curving streamlined corners. Its limestone base is articulated with horizontal striations which suggest the rustication typical of Italian Renaissance palaces, but in a curving, streamlined fashion. Original steel casements survive in most- of the windows and those at the corners are placed to follow the building's curves. The Normandy today, majestically towering over Riverside Drive, stands period; the installation of the casements to follow the curves in the corner bays, however, is strictly Moderne in inspiration. Roth took great care over the casement windows, having each one assembled to his specifications from individual portions sent by the manufacturer. The Normandy as built differs somewhat from Roth's original intentions because of difficulties with New York City Buildings Department regulations. Original plans filed August 16, 1938, were rejected in late September;, Roth-appealed the ruling in November 22 to the Board of Standards and Appeals, but lost, and had to submit new drawings. The result was that a series of balconies enclosing terraces and cornices at the roof line, which were originally intended to project substantially from the wall, had to be redesigned with smaller projections. One effect of these modifications — particularly the loss of a major overhanging cornice — was to diminish some of the Italian Renaissance character of the design and hence to emphasize its Moderne qualities. Description The Normandy Apartments occupies the entire blockfront of Riverside Drive between 86th and 87th Streets and extends back along the side streets 125 and 160 feet respectively. Eighteen stories high with a nineteenth-story penthouse level and two towers, the building is organized in a rough H plan with two pavilions or wings flanking a recessed mid-section facing onto Riverside Drive. While the Riverside Drive elevation is symmetrically arranged, the two side street elevations differ from each other in accordance with the interior layouts of the apartments and depth of the pavilions along the side streets. The rear facade, facing east, is only partially visible, but it extends in two asymmetric wings to flank an interior garden court. Several elements are used to unify these elevations with their varying articulations and forms. These include a uniform facade material — gray-beige limestone and cast stone at the base, parapets, and towers, and matching beige brick for the remainder of the facades; a uniform design treatment for the base which links the elevations; a uniform window type, although set in varied patterns;* and the use of curves — punctuated by window openings allowing ample light and air into the apartments — to emphasize the corners of the buildings and make the transition from one elevation to the next. The elevations themselves display a subtle balance of horizontal and vertical elements, the horizontality articulated by, the sweeping curves and striations of the base and the treatment of the window openings, the verticality emphasized by shallow brick pilasters setting off the window bays in the pavilions and by the towers themselves. The Riverside Drive elevation is symmetrically organized with two pavilions flanking the recessed mid-section. The powerful treatment of the base creates a clear sense of horizontality in contrast to the more vertical emphasis given the stories above. The two-story base is faced in gray-beige limestone which ;is laid u

windows with internal blinds