Quick Shade Replacement Parts
Quick shade replacement parts. Glass canopy for aquarium. Solar shade.
Quick Shade Replacement Parts
- (Replacement part) A spare part, service part, or spare, is an item of inventory that is used for the repair or replacement of failed parts. Spare parts are an important feature of logistics management and supply chain management, often comprising dedicated spare parts management systems.
- Any part, new, used or aftermarket, that replaces the damaged item on a vehicle.
- Imex supplies replacement parts – all manufacturers names, numbers, symbols and descriptions are used for reference purposes only and do not imply that any Goods and/or Services or part listed are the product of these manufacturers.
- accomplished rapidly and without delay; "was quick to make friends"; "his quick reaction prevented an accident"; "hoped for a speedy resolution of the problem"; "a speedy recovery"; "he has a right to a speedy trial"
- any area of the body that is highly sensitive to pain (as the flesh underneath the skin or a fingernail or toenail)
- At a fast rate; quickly
- promptly: with little or no delay; "the rescue squad arrived promptly"; "come here, quick!"
- Darken or color (an illustration or diagram) with parallel pencil lines or a block of color
- relative darkness caused by light rays being intercepted by an opaque body; "it is much cooler in the shade"; "there's too much shadiness to take good photographs"
- Screen from direct light
- Cover, moderate, or exclude the light of
- shadow: cast a shadow over
- represent the effect of shade or shadow on
quick shade replacement parts – Swiss Gear
Offering 150 square feet of covered space, the Swiss Gear Smart Shade canopy is perfect for camping, backyard dining, and tailgaters. The Smart Shade, which sets up in minutes (no tools required), is made of heavy-duty 210-denier polyester enhanced with a special UV-resistant coating to ensure durability. As a result, the canopy keeps the sun from beating down on your party guests in the summer. The polyester fabric is also water-repellent, making it a handy choice for weddings and other occasions where inclement weather is a concern. The canopy is even suitable for extremely windy days, with dual stabilizer arms at each corner, “batwings” and guy-outs, and ultra-stable “deck feet” with anchor points for stakes or screws. The Smart Shade canopy, which includes patented easy-release buttons for quick pinch-free adjustments, measures 15 by 10 feet and comes with an expandable wheeled duffel bag.
The Astoria Play Center is one of a group of eleven immense new outdoor swimming pools which were opened in the summer of 1936 in a series of grand ceremonies presided over by Mayor Fiorello LaGuardia and Park Commissioner Robert Moses. All were constructed largely with funding provided by the Works Progress Administration, one of the many New Deal agencies created during the 1930s to address the effects of America’s Great Depression. Designed to accommodate a total of 49,000 users simultaneously at locations scattered across the entire city, and completed just two and a half years after the LaGuardia administration took office, the new pool complexes gained quick recognition as being among the most remarkable public recreational facilities ever constructed in this country.
Many architects, landscape architects, and engineers were hired to execute the pool program and the hundreds of other new construction and rehabilitation projects undertaken between 1934 and 1936 by a newly consolidated Park Department. They were guided by a senior team composed of staff members and consultants who had earlier worked for Moses at various governmental agencies, including the New York State Council of Parks and the Long Island State Park Commission. They included architect Aymar Embury II, landscape architects Gilmore D. Clarke and Allyn R. Jennings, and civil engineers W. Earle Andrews and William H. Latham. Surviving documents also indicate that Robert Moses, himself a long-time swimming enthusiast, gave detailed attention to the designs for the new pool complexes.
Opened on July 2, 1936, with a capacity of 6,200 swimmers, and designed mainly by consulting Park Department architect John Matthews Hatton, the Astoria Play Center commands a striking waterfront location in Astoria Park. The vast scale of the pool complex is complemented by that of its setting – the distant vistas westward framed by the monumental forms of the Hell Gate and Triborough Bridges. Embedded into what has now become a densely wooded slope which descends to the water’s edge from 19th Street, the play center complex was designed to take full advantage of its surroundings. The entire roof of the bath house structure is used for multi-level viewing terraces. Extensive concrete bleacher sections are located on the western side of the bath house and around the diving pool. They offer far more outdoor seating than is available at the other play centers; perhaps the abundant seating is related to the fact that the final trials for the 1936 Summer Olympics were held here.
Like Hatton’s later design for the 1939 bath house at Betsy Head, the Astoria Play Center structure makes extensive use of glass block; it forms the lower recessed sections of the locker room walls which are topped by the original metal louver windows. Massive piers laid up in decorative bonds demarcate the bays. Glass block also forms extensive sections of the lateral walls of the entryway: the original Art Moderne style ticket booth and signage are its other significant features. Among the Center’s more unusual design elements are the whimsical saucerlike roofs atop the upper portions of the filter house structure on the western side of the swimming pool. The areas adjacent to the pool complex include extensive pathway systems, playing areas, and a striking comfort station designed in a style similar to that of the bath house.
DESCRIPTION AND ANALYSIS
History of the Astoria Park Pool Site
The setting for the Astoria Park Pool and Play Center is the sloping, sixty-six acre Astoria Park, located on the east shore of the Hell Gate channel across from Ward’s Island in western Queens. The complex has a panoramic view of the skyscrapers of midtown Manhattan framed between the towering Triborough Bridge to the south and the majestic Hell Gate Bridge to the north. Long Island City and Astoria became part of greater New York City in the consolidation of 1898. By 1907, the land now occupied by Astoria Park and its surroundings remained occupied by fading, former estates of prominent families and ship captains, who had moved away as industrial and residential developments loomed ever closer. The pace of urbanization picked up after the opening of the Queensborough Bridge in 1909, adding many more factories and houses.
Around the turn of the century, sentiment emerged to increase public access to the East River and Hell Gate waterfront. In 1913, the City of New York acquired fifty-six acres of land along the shorefront for what was to become Astoria Park. Originally, named for Mayor William J. Gaynor, who served from 1910 to 1913, the name of the park was soon changed to Astoria Park. According to Parks Department Records, Astoria Park – which was originally equipped with two playgrounds, six tennis courts, three baseball diamonds, a wading pool, bandstand, and comfort station – was the first large park in New York City to provide for organized, rather than passive, recreati
Antique Electric Fan – Emerson 24646
I am an artist living in New York City and a couple of summers ago I became interested in antique electric fans. The city was in the middle of a heat wave and my air-conditioner was roaring in my small 8′ X 10′ bedroom. I was a bit hot and probably bored too because I just kept looking at my air-conditioner and thought about how ugly it was. I lay there in my bed thinking that there just had to be a better alternative and maybe an electric fan might be the answer. Yet, all the electric fans that I have seen were all ugly pieces of plastic, including the one I had in my closet which I refused to bring out.
Here is a little more background about me. I live rather sparely; some would say monastically. My walls are pure white with nothing on them and my wood floors are stained a dark shade of walnut. In my small bedroom I have a very simple bed and a little rosewood modernist dresser to the side with a vintage machinist task lamp on top. These sparse furnishings are rounded out with a Plycraft Cherner chair from the 1960′s. If I were to add an electric fan to my room, it would have to be beautiful, solid, simple, and have clean lines. So my journey began in search of a beautiful vintage electric fan. I remembered reading about an old Vornado electric fan in the New York Times many years ago and thought this would be a good place to start searching on the internet. My Vornado search quickly turned into a search for all antique fans. There were fans with polished brass blades. Really? I didn’t know that. Rather quickly, my idea of a perfect fan evolved into this: I wanted a fan that one might see as the archetypal picture in the dictionary. It had to be reductive, have nice proportions, convey the essence of a fan without florish, and follow the tenet of the Bauhaus: form follows function. Hence, a couple of weeks later, I discovered an Emerson 29646.
I found the Emerson 29646 on a website dedicated to the restoration of vintage fans and, also on this website, I found a link to the AFCA. I logged into the AFCA as a guest and I sent a message to the first person I saw, Mark Goodrich. He wrote me back and was kind enough to include his phone number, so I called him. Mark was nothing but helpful with me and suggested that I contact Steve Stephens for a crash course into the world of antique fans. I got more than I bargained for. I called Steve Stephens to ask him what would be a reasonable price to pay if I were to purchase and restore an Emerson 29646. Steve was very amicable but he quickly questioned my understanding of the 29646. I did not know anything about fans mechanically and I was strictly drawn to the 29646 from a visual point of view. Steve started talking to me about hubs, struts, oscillators, and other models including the 24646 and the 27646. Really, other models existed? So my crash course began, and what an education it was. The following are general guidelines as to what the differences between the 24646, 27646 and the 29646 Emerson fans are. Like most fan companies, the production dates of each model is somewhat blurry. Also, many of the parts from previous models were used in subsequent models, so as definitive as I’ve tried to be, there are exceptions:
Introduced – 1917
24 (model number), 6 (60 cycles), 4 (number of blades), 6 (radius of blades)
1. Smaller diameter base.
2. Cast iron hub.
3. Cast iron or forged steel handle.
4. Brass or steel cage.
5. Harder to find than 27646 and 29646.
6. Three different "oscillator mechanisms" were used throughout the 24 cycle. Early models made with alloy (pot metal) ball-detent.
Later models made with steel oscillator mechanisms.
7. Nicer looking numbers are cast on the base showing the three speeds.
8. Flat brass blades – no curvature.
9. Stamped lead-filled badge on early models. Etched badge on later models.
10. Screw-in nickel plated brass oil-hole cover.
11. Porcelain speed-control switch.
12. Single positional hole in ball joint was used for both desk and wall mounting.
13. Rubber feet instead of the felt bottoms on the 27 and 29 fans.
14. No matching non-oscillating model (non-oscillating 19646 used older step base instead of cone base).
Introduced – 1919
1. Larger flared base.
2. The 27 is more common than the 24 but much less common than the 29.
3. Maintains the cast iron or forged steel handle of the earlier models.
4. Black painted stamped steel hub.
5. Steel cage.
6. Early bases used the nice cast speed indicator numbers. Later models use depressions for stamped gold printed numbers.
7. Blades are still devoid of the "dull brass finish" (brass paint) that is used on the 29 models.
8. Flat brass blades – no curvature.
9. Etched badge.
10. Screw-in nickel plated brass oil-hole cover.
11. Early models used porcelain speed-control switch. Later models used phenolic composite speed-control switch.
12. Phenolic composite grommet is coupled with a brass or steel extension on rear motor.
13. Two di
quick shade replacement parts
Virginia Dean wakes at midnight beside a dead body, with a bloody knife in her hand and no memory of the evening’s events. Dark energy, emanating from the mirrors lining the room, overpowers her senses. With no apparent way in or out, she is rescued by a man she has met only once before, but won’t soon forget.
Owen Sweetwater inherited his family’s talent for hunting the psychical monsters who prey on London’s women and children, and his investigation into the deaths of two glass-readers has led him here. The high-society types of the exclusive Arcane Society would consider Virginia an illusionist, a charlatan, even a criminal, but Owen knows better. Virginia’s powers are real-and they just might be the key to solving this challenging case.