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4inch aluminum flexible duct with 10 meter
Amanda Wu(sales representative)
on line (14:00-23:00) China time
online (3:00-10:00) USA time
MSN: amanda-duct@hotmail.com
Yahoo message: amandawqq@yahoo.com
Corp Mail: amanda@duct-charm.cn
Skype:Amandawqq
Cell phone:86-13777184468
fax:86-57462085805
Fallow Deer_D7K9051
As I've not been out for a few weeks I've looked through my photos from this years rut and here is a one I haven't posted so far.
¿Que pasaría si el amor al igual que el camión de la basura nos avisara que va a llegar a nuestras vidas?
Flexibility-to-Usability Tradeoff – Here we have two sites that correspond to both ends of the spectrums for the Flexibility-to-Usability Tradeoff. On one hand, we have the famous WordPress engine and site, and on the other we have Medium a new contender to the blogging world. WordPress lands at the end of the Flexability spectrum where in, anything is remotely possible on its blogging platform from plugins to custom themes, and its usage as just a standard website instead of as a blogging platform. It has a wide arrange of features which makes it very flexible, but of course this is a trade off and it can be quite daunting for new users to learn and grasp everything that is possible with it. However, if you don’t like something with the WordPress platform you can modify it!
Medium is all about usability, it features one set of tools and is meant for one thing only, looking stylish while focusing primarily on readability and writing. It features a unique WSIWYG editor, which is literally the page as you are writing, and not some input box that does not correspond to the pages layout at all. Thus, Medium lacks flexibility, but gains huge strides in ease of use and usability. Mediums primary focus is on writing and nothing else. It doesn’t care about plugins or any other flexible features that WordPress has. Therefore, you are at the mercy of Mediums layout and design, and have no control over it. Don’t like something about Medium? Well that is too bad, because once again you are at the mercy of the platform not being open source and rely solely on the developers of Medium and their vision.
flamingo showing flexibility - Flamingo using flexibility to hunt for food in shallow waters.. To Download this image without watermarks for Free, visit: www.sourcepics.com/free-stock-photography/24713997-flamin...
This low cost colour printing device from Xerox will help your business reduce costs as it provides up to 62% savings while reducing the impact on the environment by 90%.
It offers consistent colour with its unique solid ink technology and offers you a flexible pricing plans that allows you to print portions of your document in colour while paying for black and white.
Check it out at www.office.xerox.com/multifunction-printer/color-multifun...
A flexible club bringing together a community of young people with mentors and a space to make. Participants work together to design, create, and ultimately exhibit a youth-chosen project , aimed towards exhibiting at a showcase event like Maker Faire. The club is lead by Sasha, a young maker mentor, who has been on panels at Intel, Pearson Learning, Pixar and Bay Area Maker Faire, and Young Makers. She has won awards at Synopsys Silicon Valley Science and Technology Championship and Santa Cruz County Science & Engineering Fair. She was recently published in National Geographic Magazine January 2017 issue. The group meets weekly on Sundays.
Cu/LSZH/LSZH 6241B are the electric cables referred to thermosetting insulated and thermoplastic sheathed cables for voltage 300/500V electric power and lighting and having low emission of the smoke and corrosive gases when affected by the fire.
624-B refers to thermosetting insulated and sheathed cables, single-core 6241B, flat twin-core 6242B, flat 3-core 6243B, with circuit protective conductor (CPC) 300/500V. The conductor is annealed copper conductor of class 1 or class 2. The maximum size is up to and including 16 mm². We supply the cables according to BS7211.
6241B LSZH Single Cores +Earth Cable Parameter
No. of Cores x Nominal Cross-Sectional AreaNominal thickness of insulationNominal thickness of sheathNominal overall dimensionsCircuit protective conductorNominal WeightMinimum insulation resistance at 90 °C
# x mm²mmmmlower limit mmupper limit mmAWGkg/kmMΩ·km
1 × 1.00.70.94.1 × 5.25.0 × 6.317450.011
1 × 1.50.70.94.4 × 5.45.3 × 6.617550.011
Description Of 6241B LSZH Single Cores +Earth Cable
Rated voltage: 300/500v
Test voltage: 2000 volts
Max Flexing bending radius: 15 x Ø
Operating temperature: +5 ºC to +90 ºC
Short circuit temperature: +250 ºC
Flame retardant standard: IEC 60332.1
Smoke density acc. to EN 50268 / IEC 61034
Flame test and Flame-retardant according to EN 50265-2-1, IEC 60332.1
Application Of 6241B LSZH Single Cores +Earth Cable
6241 B LSZH cables are widely used in domestic and industrial power or lighting system. They normally installed in conduit and trunking or can be surface nounted if used as earth cable. They are good options for using in public buildings to reduce the threat to life and equipment cased by smoke and toxic fumes. They can't be installed incontrete without mechanic protection.
www.jenuincable.com/products/6241b-lszh-single-cores-eart...
Study of a Male Nude Leaning
on a Staff - 1876
Artist: Julian Alden Weir (American, 1852–1919)
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Option for 48" or 48.5" Arms
The longer 47" arms create a larger passageway. This model comes in both manual and electric lock control versions.
The electric model is bi-directional and works with any access control system or push button. The turnstile can be ordered with card reader mounting plates, and each rotation direction can be configured as fail-safe or fail-lock.
When a valid credential is presented, the turnstile unlocks, allowing a single controlled rotation in the requested direction. Unauthorized entries, or attempts to tailgate on an authorized entry, are rejected.
Both the manual and electric lock versions have built in key override controls and each direction can be adjusted for free passage, controlled passage or no passage.
Features:
Welded steel construction with no exposed bolts or fasteners
Stainless steel top channel cover and internal parts
High quality sealed and covered bearings
Splined connection between the rotating section and top channel assembly provides a precision fit that minimizes play
Rugged electronics with full-featured turnstile controller, conformal coated for enhanced weatherization protection
One-to-one passage control deters tailgating
Independent fail-safe or fail-lock operation
Speed control to provide a controlled, safe rotation
Automatic self-centering prevents over or under travel of rotating section
Built-in key override controls to adjust open or closed status
Rugged turnstile controller integrates with any access control system
Flexible credential reader attachment and mounting plate allows use of existing readers
Dedicated fire input and various other available I/O
Anti-entrapment design
The built-in speed control self-adjusts to the pushing force of the user. Even when a user pushes hard on the turnstile arms, the speed of rotation is controlled. This increases safety and reduces the chance of a rapidly spinning rotating section catching a user’s heel.
In addition to controlling the rotation speed, the turnstile's speed control also greatly reduces kickback of the rotating section toward the user when the turnstile re-locks. After each passage, the rotating section smoothly returns to the home position and locks in place, ready for the next user. The unique design of this turnstile also makes it mechanically impossible for a user to get locked inside the turnstile.
Our electric turnstiles are configured for fail-lock in the entrance direction and fail-safe in the exit direction. When power is off this prevents people from entering, but allows personnel to exit. This can be varied per user preference.
Product Features
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Description of Wedge Gate Valve:
ZECO wedge gate valve is one of the gate valve types. Wedge gate valves are named because the two sealing surfaces resemble wedges in the body. In general, the two wedge gate valve sealing surface and the Angle of the vertical center line of 2 ° 52 ', 3 '30 °, 5 °, 8 °, and so on. Wedge gate valves can be divided into rising stem gate valve and non-rising stem gate valve according to the stem structure, and wedge gate valve and double disc gate valve according to the gate structure. ZECO is a professional gate valve manufacturer in China, with nearly 30 years of experience and history in the production of gate valves.
Features of Wedge Gate Valve:
1. ZECO wedge gate valve adopts wedge type gate, because the Angle of the gate is wedge type with the vertical center line, it can be closed more and more tightly in the closing process, further ensuring the sealing effect;
2. ZECO wedge gate valve adopts lifting stem, which can visually see the opening or closing state of the valve from a distance and is easier to judge. The stem and gate are connected by t-groove, and the t-head of the stem is forged as a whole to ensure sufficient connection strength;
3. ZECO wedge gate valve is designed with a sealed design that allows replacement of the packing when fully open. This design ensures that the packing can be replaced online when it needs to be replaced if the packing is damaged, preventing personnel waste caused by disassembly of the valve;
4. ZECO wedge gate valve is designed with anti-collision protection on the flange surface when it leaves the factory, which can protect the convex surface connected with the pipe flange during transportation and prevent damage of the valve in collision.
Material of Wedge Gate Valve:
NoPartMaterial
1BodyASTM A216 WCB
2Seat RingASTM A105 + 13Cr
3WedgeASTM A216 WCB + 13Cr
4StemASTM A276 410
5Bonnet GasketGraphite + SS304
6Bonnet BoltASTM A193 B7
7Bonnet NutASTM A194 2H
8BonnetASTM A216 WCB
9BackseatASTM A182 F6a
10Stem PackingReinforced Graphite
11HandwheelKTH330-08
Frosted glass background defuses the brilliant white LEDs and the full spectrum daylight white light play with the color in the glass www.theledlight.com/flexible-led-strips-index.html
A flexible club bringing together a community of young people with mentors and a space to make. Participants work together to design, create, and ultimately exhibit a youth-chosen project , aimed towards exhibiting at a showcase event like Maker Faire. The club is lead by Sasha, a young maker mentor, who has been on panels at Intel, Pearson Learning, Pixar and Bay Area Maker Faire, and Young Makers. She has won awards at Synopsys Silicon Valley Science and Technology Championship and Santa Cruz County Science & Engineering Fair. She was recently published in National Geographic Magazine January 2017 issue. The group meets weekly on Sundays.
Emma Stewart, CEO and Co-Founder, Timewise giving a short presentation on a 'what-works' centre for flexible working.
“This is actually my father-in-law. He is ninety-three and he walks more than one and a half kilometers every day... When I look at him, I think of all my other clients, because they’re all healthy and in their homes. ...If it wasn’t for home care, our clients would all be in long-term care.” (Janice, preceptor)