129 Sentences With "louver" | Random Sentence Generator

The "Louver feature" this puzzle is looking for can be either SLIT or SLAT.

In her current solo show at LA Louver, Saar addresses the history of slavery in America.

Alison Saar: Topsy Turvy continues at LA Louver (45 N Venice Blvd, Venice) through May 12.

Elsewhere in the museum, the louver patterns are reflected directly onto the glass, like a bar code.

Gooding & Company claims that this is the only one of 36 Single-Louver Tour de Frances built that was delivered to Sweden.

At LA Louver, you can draw these connections for yourself, as the figures of Saar's sculptures take on new forms in her lithographs, etchings, and woodblock prints.

Her current exhibition at LA Louver, like her last one there in 2016, is moving and cathartic, addressing the current political climate and how history repeats itself.

" As one visitor, who was at the exhibition opening at LA Louver from the beginning to the very end, said of Saar's work, "It tells so many stories, so many histories.

This week, LA Louver opens an exhibition of influential street artists, LACE hosts an overnight happening, Human Resources presents a weekend-long festival of video art produced by LA women, and more.

Not surprisingly, they often incorporated or referenced the TV — that ubiquitous mid-century vehicle of mass communication — and L.A. Louver presents 24 of the couple's television-based works produced between the late 210s and Ed's death in 303.

"Although in this case the louver is separate and apart from the cooling-heating unit, it will most likely be considered part of the assembly as it is necessary in order to operate the equipment," Ms. Smith said.

When: Opens Wednesday, May 220, 235–228pm Where: L.A. Louver (24 N. Venice Boulevard, Venice, Los Angeles) A decade after the devastation of Hurricane Katrina, Alison Saar focuses on an earlier Southern tragedy in her upcoming exhibition Silt, Soot and Smut.

In conjunction with its current Hockney exhibition, The Yosemite Suite, L.A. Louver will be screening two episodes of Visiting with Huell Howser, in which Howser provides an intimate look at Hockney's practice, as well as an episode of California's Gold focused on Yosemite National Park.

"It was a pretty quiet moment," Jacob Sousa said this week from his job at the L.A. Louver gallery in the Venice neighborhood of Los Angeles, where David Hockney's solo exhibition "Something New in Painting (and Photography) [and even Printing] ... Continued" is on view.

Even before Back to the Future tipped me off to the DeLorean's iconic stainless steel frame and louver-filled hatch, Inspector Gadget's gadgetmobile made me dream of the day I'd own such a sleek, wedge-shaped auto: I wound up settling for an '88 Integra, though.

When: January 29–February 29 Where: LA Louver (45 N Venice Blvd, Venice, Calif.) Alison Saar is especially cherished for her visceral, singular sculptures, but for the past 30 years she has also been producing remarkable prints that are very much in conversation with her three-dimensional work.

In the catalogue, which was published when this series was first shown in the exhibition R. B. Kitaj: Los Angeles Pictures at LA Louver (April 2545 – May 225, 28), Kitaj wrote: Sandra and I became lovers again, after her death, in my old age in Los Angeles, The Angels.

LOS ANGELES — The most visible and recognizable artwork on Venice Beach, a 60-foot-tall steel sculpture by Mark di Suvero that has been a popular meeting point for nearly two decades, will be dismantled and trucked to Northern California by the end of this year, according to the artist and his gallery L.A. Louver.

Two exhibitions currently on view at LA Louver bridge this 50-year span, beginning with the "Non-War Memorial," a 1970 work by Ed and Nancy Kienholz that features a black book on a pedestal surrounded by stuffed army uniforms strewn about its base like corpses — "an illustration of the stupidity of war, rape and carnage," Ed Kienholz noted.

Type of louver in concept Louver used in a Stevenson screen Louver shutters in Italy Louvered cupola bell house A louver (American English) or louvre (British English; see spelling differences) is a window blind or shutter with horizontal slats that are angled to admit light and air, but to keep out rain and direct sunshine. The angle of the slats may be adjustable, usually in blinds and windows, or fixed.

L.A. Louver gallery facade, with Peter Shelton sculpture L.A. Louver is an art gallery focusing on American and European contemporary art. The gallery is located in Venice, Los Angeles, California, United States.Leah Ollman, "Art review: 'Kienholz Before LACMA' at L.A. Louver," The Los Angeles Times, February 2, 2012.

Louvers are active thermal control elements that are used in many different forms. Most commonly they are placed over external radiators, louvers can also be used to control heat transfer between internal spacecraft surfaces or be placed on openings on the spacecraft walls. A louver in its fully open state can reject six times as much heat as it does in its fully closed state, with no power required to operate it. The most commonly used louver is the bimetallic, spring-actuated, rectangular blade louver also known as venetian-blind louver.

Louver radiator assemblies consist of five main elements: baseplate, blades, actuators, sensing elements, and structural elements.

These locomotives can be recognised by a new louver being fitted to 2B side of the locomotive.

The smaller version of Antipodes has since been sold to a private collector in California via L.A. Louver.

His investments include the Cadillac Hotel, Beach House on Ocean Front Walk, L.A. Louver, and James Beach Cafe.

Louvers may be used as a type of flood opening, usually covered by one or more moving flaps. They are designed to allow floodwaters to enter and leave the building, equalizing hydrostatic pressure on the walls and mitigating structural damage due to flooding. Louver windows are a staple in the design of homes and perfect to withstand the pressures of future cyclonic conditions. Cyclone homes have always been synonymous with louver windows, louver blades have been tested for ‘debris type B’ for cyclonic regions.

Fujita's work has been widely exhibited at galleries and museums such as Los Angeles County Museum of Art (LACMA), Kemper Museum of Contemporary Art (Kansas City), L.A. Louver Gallery and several international venues in Switzerland, Greece, Australia and Belgium. He is represented by L.A. LouverGajin Fujita at L.A. Louver in Venice, CA.

And rather than the standard box-like headrail of most such apparatuses, this one has a louver-type headrail also, Leddy says.

The belfry louvers of Sens Cathedral, France Louvers are rarely seen as primary design elements in the language of modern architecture, but rather simply a technical device. Louvers are part of the design of Demerara windows to help keep 18th and 19th century buildings cool in hot climates and block direct sunlight. Some modern louver systems serve to improve indoor daylighting. Fixed mirrored louver systems can limit glare and of redirect diffuse light.

Alternatives to light shelves for window daylighting include blinds and louver systems, both of which can be interior or exterior. Blinds reduce solar gain, but do little to redirect light into the interior space. Exterior louver systems often rely on adjustments from either complex servo motors or building occupants throughout the day to operate well. Both of these systems can be unreliable at times, reducing the overall benefit of having a daylighting system.

A louver is provided in an area where mechanical equipment located inside the building requires ventilation or fresh air to operate. They can also serve as a means of allowing outside air to filter into the building to take advantage of favorable climatic conditions and minimize the usage of energy-consuming HVAC systems. Curtain wall systems can be adapted to accept most types of louver systems to maintain the same architectural sightlines and style while providing the functionality.

According to Pino Correnti the word parmigiana derives from the Sicilian word for damigiana, a wicker sleeve used both for wine bottles and the hot casserole in which the dish would be prepared and served. Mary Taylor Simeti, Vincent Schiavelli, and several others write that the name derives from the Sicilian word for louver, palmigiana. The angled horizontal slats of a louver would resemble the layering of eggplant slices in the dish. Franca Colonna Romano Apostolo suggests that the name is parmiciana, which means Persian in Sicilian.

Moses joined the art faculty in 1968 at the new University of California campus at Irvine. In 1980, Moses received a Guggenheim Fellowship. Moses began working with Peter Goulds at L.A. Louver. He remained with Goulds for the next 15 years.

The Coronet Diplomat was Dodge's first hardtop-convertible, featuring a pillarless steel roof styled after the contemporary Chrysler Newport. The speedometer was now circular, and the other four gauges were rectangles. For 1952 the Coronet had a painted lower grille louver.

The Goshen Church is located in a rural upland area of western Bradford, on the east side of Goshen Road a short way south of its junction with Upper Rogers Road. It is a single- story wood frame structure, with a gabled roof and clapboarded exterior. Its front facade is symmetrical, with two identical entrances, each framed by sidelight windows and topped by a triple tympanum with a central Gothic louver flanked by smaller similar ones. Above each entry is a sash window, also topped by a Gothic louver, and a similar opening, now sided over, is set in the gable end.

The new building is promoted as a green structure. The design incorporates numerous environmentally sustainable features for increased energy efficiency. The double-skin curtain wall, automated louver shading system, dimmable lighting system, underfloor air distribution system and cogeneration are the main sustainable design features.

1936 Cadillac Series 70 The 1936 Series 70 and 75 both had v-shaped windshield styles by Fleetwood. A narrower radiator shell was supported by the new louver style "Convex vee" grill. Headlights were mounted on the radiator shell. Parking lights were inside the headlights.

Modern interior wooden window shutters Interior shutters are typically divided into narrow units hinged accordion-style so that two or more units cover each side of a window opening when closed. Operable louvered shutters have louvers (or louvres in British usage), or slats, controlled by a tilt bar or rod to adjust the louver position and keep them in a uniform position, to control light, visibility and airflow. Shutters with operable louvers are described variously as traditional shutters, California shutters, or plantation shutters. Plantation shutters, typical of warmer climates like Florida, South Africa, the Mediterranean or Australia, typically have only two shutters per window and wide louver blades.

1832 (Holt) and c. 1857 (Holt)) is a one-story frame building with two doors and two louver windows on its front side. The rear side of this building originally had two louvered windows. In modern times, one of these windows was replaced with a door.

Aluworks is a company that makes aluminium sheets, coils, corrugated roofing, louver blades, etc. from raw aluminium ingots. One of Aluworks' principal raw materials vendors, the Volta Aluminium Company, was completely closed between May 2003 and early 2006 due to problems in negotiating an electricity supply.

Additionally, the automated louver shades move in response to the position of the sun and inputs from sensors, blocking light to reduce glare or allowing it to enter at times of less direct sunlight. The movable shades reduce energy consumption about 13% by reducing solar heat gain by 30%.

Beveridge 2008 p. 264 There were no handrails, no carpet runners, and lighting was provided by ormolu and cut-glass ceiling fixtures. On B Deck the two parallel corridors were enclosed by swinging baize-upholstered doors with louver panels, which muffled the sound coming from the stairwells and busy public rooms.

His work TreesStuart Collection – University of California, San Diego. Retrieved 2010-01-11. (the music, literary and third trees) is installed on the campus of the University of California, San Diego as part of the Stuart Collection. His artwork has been featured at the L.A. Louver art gallery in Venice, California.

Fresnel, 1822b, tr. Tag, pp. 13,25. Below the main panels were 128 small mirrors arranged in four rings, stacked like the slats of a louver or Venetian blind. Each ring, shaped like a frustum of a cone, reflected the light to the horizon, giving a fainter steady light between the flashes.

The Whittemore House is a historic house in Arlington, Massachusetts. The Greek Revival was built c. 1850, and is the only house in Arlington with the full temple-front treatment. It as two-story fluted Doric columns supporting a projecting gable end with a fan louver in the tympanum area.

The higher the unit's SEER rating the more energy efficient it is. :A damper or adjustable louver designed to augment the ventilation of a space during a fire. :A split system is the combination of an outdoor unit and an indoor unit. This is the most common type of system.

With the building situated to face the sun, translucent glass screens allow natural sunlight to perforate the whole building. High ceilings and long windows further allow natural light to easily penetrate thereby providing long hours of daylight and heat. In addition, the wind factor is regulated by filtering metal louver blades.

These changes had clearly been influenced by the Cadillac Sixty Special. The styling feature distinguishing all V-8 Cadillacs was once again the grille. Although grilles had the same pointed shape as in 1939, the grille bars were heavier and fewer in number. Two sets of louver bars appeared on each side of the hood.

A few of Schoenstadt's selected solo and two person exhibitions and projects include: Wadsworth Atheneum Museum of Art, Hartford, Ct.; Van Abbemuseum, Eindhoven, NL; Santa Monica, Museum of Art, Santa Monica, Ca.; M29 Richter & Bruckner Gallery, Koln, Germany.; Museum of Contemporary Art, Chicago, Il.; Sprueth/Magers Gallery, Munich, Germany; LA Louver Gallery, Los Angeles, Ca.

The corners of the building have pilasters, which rise to an entablature and gable returns at the roof edge. The main facade is symmetrically arranged, with two entrances flanking a central double window. Each of these elements is topped bya lancet-arched louver. The side walls each have three windows, also topped by lancet-arched louvers.

The north (front) elevation has a projecting pediment forming a portico with a round-arched attic louver in the center. It is supported by four square pillars. A shed-roofed addition is on the east profile. The chapel, joined to the school on the latter's south, and its north, is also a one-story frame building.

An eight-sided steeple completes the tower. The front facade is oriented to the southwest, and is symmetrical. It is four bays wide, with sash windows in most bays, and two entrances in the center two bays of the ground floor. In the gable above is a recessed panel that has a triangular louver at the center.

A tower rises above the main facade, whose first stage is a square, with a sunburst louver pattern on three sides. This section is topped by a low balustrade with Gothic pinnacles at the corners. The next state is an open belfry, with eight columns rising to support a bell-shaped steeple, with spire and weathervane. Photograph c.

12 high-speed elevators are installed to ensure swift access to all levels. Each floor has two pressurized fire escape stairways with widths of 1.35 meters, higher than the standard 1.20 meters of comparable structures. Every floor is also equipped with a smoke exhaust louver system which automatically activates in case of fire. Also, the building is also crowned with a helipad.

The steel and glass façade houses adjustable vertical louvers which restrict or allow sunlight to enter the building. The louvers are automatically closed and opened at times of sunrise and sunset, allowing the building to save energy. On special occasions, the façade displays different images such as the company's logo. Internal light is selectively blocked by a nocturnal automated louver system.

The building has a uniquely tapered bell tower in the front. The bell-chamber has a round-arch louver on each side and it is capped with a hipped roof and a cross. The church is surrounded by of property that includes, timber, grassland, cultivated fields, and the parish cemetery where many of the first parishioners were laid to rest.

The gable end above is fully pedimented, with a triangular louver at its center. A three-stage tower with clock and belfry rises to an octagonal spire. The clock was provided by E. Howard & Co., and the bell by George Handel Holbrook of Medway, Massachusetts. The interior has modest Greek Revival elements, including slip pews and a coved plaster ceiling.

A triangular louver occupies the center of the gable. The main entrance is in the rightmost bay, framed by sidelight windows and pilasters, with a corniced entablature above. To the left (as seen from the road) is a single-story ell with similar styling, including corner pilasters. The right ell includes what is probably the oldest part of the house.

A single die-cast louver was positioned to the rear of each hood side panel. Headlights were once again attached to the radiator casing. Chassis changes included: tube and fin radiator core; sea shell horns under the hood; 10mm spark plugs. In 1940 the one year only Series 72 was introduced as a less expensive companion to the Series 75.

A single rectangular panel of louver trim was used on each side of the hood. The rectangular grille was wide, vertical, and bulged forward in the middle. Rectangular parking lights were built into the top outer corners of the grille. Headlights were now built into the nose of the fenders, and provision for built in accessory fog lights was provided under the headlights.

Pieter Laurens Mol is a Dutch contemporary artist who combines photography, film, painting, drawing, sculpture and installation in his works. He was born in Breda, Netherlands in 1946, and studied photography at St. Joost Art Academy. He has been represented in numerous collections around the world, including the Museum of Modern Art, the Farideh Cadot Gallery, the Museum of Contemporary Art Antwerp and LA Louver Gallery.

The north profile has two windows on all three levels. The western wing has a modified hipped roof with a large exterior chimney on the north side. The west (rear) facade has a detailed Federal entrance with a molded round arch frame and fan louver. On the south side is the stone wing, offset to the west, with a small wooden vestibule and entry on its south.

Marco Livingstone, Tony Bevan: Monotypes (London: Marlborough Fine Art, 2007) Bevan has work in many major art collections around the world, including Arts Council England, the Israel Museum, Jerusalem, the British Museum, the Louisiana Museum in Denmark, Museum of Contemporary Art, Los Angeles, the Museum of Modern Art, New York and the Tate. He is represented by Marlborough Fine Art, L.A. Louver and Ben Brown Fine Arts, London.

As it currently stands the building is a rectangular two-story six-by-two-bay structure on a stone foundation. Its front facade is centered on a recessed porch, with large fluted Doric columns, echoed by similar cornerboards. A broad gabled roof is covered in metal cladding, and round-arched louver windows are near the top at either end. The rear features a polygonal bay with two entrance doors.

Sirjan (, also Romanized as Sīrjān; formerly, Sa‘īdābād) is a city and the capital of Sirjan County, Kerman Province, Iran. According to the 2016 census, its population was 324,103 in 95,357 families. Sirjan is located 960 kilometers from the Iranian capital of Tehran, and 175 kilometers from the provincial capital of Kerman. It is known for its pistachios, Kilim and its wind towers, locally known as Bādgir-e Chopoqi (calumet louver).

The main facade faces east, and is symmetrically arranged, with an engaged porch extending the width, supported by square posts. A single door provides access to the building at the center of the porch, and there are two windows on the gallery level. A small lancet-shaped louver occupies the center of the gable. The windows on the sides are all lancet-arched in the Gothic Revival style.

The five corporate members of the Chicago Lighting Institute were the Commonwealth Edison Company, the Electric Association, the General Electric Company, Sylvania Electric Products, Inc., and Westinghouse Electric Corporation. The forty-six corporate association members in 1967 included: Advance Transformer Company Alkco Manufacturing Company American Concrete Corporation American Louver Company Appleton Electric Company Benjamin Products – Thomas Industries Corning Glass Works Crouse-Hinds Lighting, Inc. Curtis-Electro Lighting, Inc.

The original entrance was at first-floor level and was reached by an external wooden stairs. Heat was probably provided by a brazier in the centre of the hall, with the smoke exiting through a louver or opening in the roof directly above. The garderobe is diagonally across from the main entrance. There is fine carving on the exterior of the doorway and on the inner side of two of the window openings.

Mesh detail appeared just beneath the palm and inside the three recessed louver-like shapes located on both topside. The blades on the sides of Batman's gauntlets were retractable and capable of firing outward projectiles. The utility belt was a convex metal ampules form, and its buckle was made of beveled metal platelets. The back of the belt had an intricate containment device and could be detached to be used as a tool.

A similar louver is found in the center of the fully pedimented gable. The house was built about 1830 for General Robinson Hall, an officer in the Vermont militia who had married Sarah, the daughter of Isaac Munson, a prominent local landowner. The house is nearly identical to Munson's house, which stood further north on US 7 and was built about the same time. Hall was involved in the promotion and construction of the railroad through the area.

The Cleaveland House is a two- story wood frame structure with a hip roof and a granite foundation. It is a typical connected homestead, with a rear ell connected to a carriage house via an open garage. Its main facade, facing west, is five bays wide, with a center entrance flanked by pilasters and topped by a semi-elliptical fanlight louver and entablature with cornice. A secondary entrance on the south-facing facade has a small hood.

The Merritt House is a historic house at 139 North Broadview in Greenbrier, Arkansas. It is a single story wood frame structure, finished with a masonry veneer, with an irregular plan featuring a variety of roof gables. The exterior is finished in sandstone with cream-colored brick trim. The main entrance is set under a deep front porch, whose front has a broad flat-topped arch, with a gable above that has a louver framed in brick.

St. Edwards Church is a historic Roman Catholic church at 801 Sherman Street in Little Rock, Arkansas, United States. Built in 1901, it is a handsome Gothic Revival structure, built out of brick with stone trim. A pair of buttressed towers flank a central gabled section, with entrance in each of the three parts set in Gothic-arched openings. A large rose window stands above the center entrance below the gable, where there is a narrow Gothic-arched louver.

The West Ward School is located on the north side of Prospect Street, just east of its junction with Nichols Street. Prospect Street is a major east-west route through northwestern Wakefield, and is predominantly residential in this area. The school is a two-story wood frame structure, with a front-facing gable roof, clapboard siding, and a projecting gable-roofed entry vestibule. The gable end is fully boxed, with a triangular louver at its center.

The handsome, asymmetrical, twin-spired Gothic Revival St. Joseph's Church was designed around 1888-1890 by architect F.E. Page. The building has a tall, end-gable- roof, rectangular mass with a polygonal, hip-roof apse at the northeast end. One-story, shed-roof side aisles continue around the apse as an ambulatory to connect to a projecting, rectangular chapel. The three-story, shorter corner tower has paired lancet windows, battlemented string courses, louver-filled Gothic arches, and is topped by a broach spire.

Modern louvers are often made of aluminum, metal, wood, or glass. They may be opened and closed with a metal lever, pulleys, or through motorized operators. The Standard specifies requirements for the construction of buildings using louver in bushfire-prone areas in order to improve their resistance to bushfire attack from burning embers, radiant heat, flame contact and combinations of the three attack forms. The revised building standard details various construction methods and materials that must be used depending on the homes level of bushfire risk.

The side walls have two windows on each level, and a louver in the attic. The rear has a small projecting gable-roof ell, and the back door is an original thick batten door. The interior generally follows a central hall plan, providing access to four rooms on the first floor and stairs to the second floor. The second floor has a single bedroom on the south side, and a large unfinished open area to the north, in which the house's log construction is exposed.

The entry consists of a six-panel door, flanked by half-length sidelight windows and topped by a half-oval fanlight louver. This assembly is framed by pilasters set on plinths, rising to support a broad entablature and cornice. The interior of the house has a typical center-chimney plan, with well-preserved Federal and Greek Revival styling. The house is generally believed to have been built in 1833, the year in which Almond Gushee, Jr., part owner of a local mill, married Elvira Drake.

There was a mill at Est Brugge and small jetties on the river bank. Across the Est Brugge there stood a stone wayside cross at the point where the Est Strete divided into the main roads to Ipswich and Harwich (modern Ipswich and Harwich Roads respectively). Outside of North Gate ran the main road to Myland (Mile End) and Sudbury, with the suburbs of Myddelburgh (Middleborough) located on this road between North Gate and Northbregge (North Bridge). Myddelburgh and Myland contained pottery and louver kilns.

The Old Red Church stands in the main village of Standish, near its northern edge, on the northeasteast side of Oak Hill Road. The church is a two-story wood frame structure, with front-facing gabled roof, clapboard siding, and a stone foundation. The front facade, facing the street, is symmetrically arranged, with two entrances set widely apart, with flanking sash windows to the outside, and sash windows above. The main gable has a full pediment, with a Federal period fan louver at the center.

The gable end is fully enclosed, with a dentillated border, and a triangular louver in the center of the tympanum. The tower rises in stages, beginning with a square section finished in clapboards, above which is a stepped-down belfry, which is finished in flushboarding with corner pilasters and a full entablature. Above this is a hexagonal section which is topped by a round dome and weathervane. The Congregational Church was established in Lovell in the early 1800s, and held its services in the town meeting house.

The entrances are topped by transom windows and corniced entablatures, and the main gable has a sash window at its center, with a triangular louver at the peak of the gable. Windows on the front and sides are topped by shallow projecting lintels. The entrances lead into separate vestibules, which open into an anteroom leading to the main space, which occupies most of the building. It has rows of grain-painted bench pews, and is lit by a chandelier and wall sconces fueled by oil.

The main facade is five bays wide, with the entrance at the center, set in a round-arch opening with a half-round fan above the door. The entrance is sheltered by a half-round porch, supported by Ionic columns, which rise to an entablature and balustrade. Above the entry is a Palladian-style three-part window, flanked by narrow pilasters, with a fan louver above the center window. The house in 2018 The house was built in 1803, and is one of Maine's most sophisticated examples of Federal architecture.

The front has a centered entrance set in a three-bay recess with two tall Doric columns in front, and tall sash windows in the flanking bays, with pilasters at the corners of the recess. The gable above is fully pedimented, with a small arched louver at the center. A tower rises above, with a combination belfry and clock stage topped by a low crown and weathervane. The interior is largely the product of the buildings 1949-50 conversion into gymnasium, although some original Greek Revival window framing remains.

The hotel includes 364 rooms, which are divided into two wings. The historic Metropole Wing dating back to 1901 was inspired by classic French architecture blended with local Vietnamese style: parquet floors, louver windows, timeless ceiling fans, century-old wood fitting and porcelain lighting fixtures. The Metropole wing has 106 guest rooms and 3 Legendary Suites - named after famous residents and visitors to the hotel: Graham Greene, Charlie Chaplin, Somerset Maugham. Guests are invited to invariably enjoy their stay in these unique quarters which are steeped in history and full of character.

Lagneau worked closely with the curator, Reynold Arnoult to develop a flexible space in harmony with the marine environment. Facing the sea, the museum is a smooth and transparent assembly of glass and steel posed on a concrete pad. Installed above the roof, the aluminum louver blades were created by the engineer Jean Prouvé, providing control over the natural light that floods the building. Le Signal, a concrete sculpture by Henri Georges Adam, frames a fragment of the landscape and strongly emphasizes the exceptional situation of the building at the harbor entrance.

The First Trinitarian Congregational Church is located near the geographic center of Scituate, on the west side of Country Way, a historically important north-south route through the community. The main sanctuary is a 2-1/2 story wood frame structure, with a front facing gable roof, clapboard siding, and a granite foundation. Its front (east-facing) facade is symmetrically arranged, with Greek Revival pilasters at the corners and between the three bays. The entrance is in the central bay, topped by a round-arch louver and a Palladian window that has elaborate surrounding molding.

Le Brun studied painting at the Slade School of Art (1970–74) and Chelsea School of Art (1974–75). Since then he has taught and lectured extensively at art schools throughout the country, in particular until 1984 at Brighton, The Slade, Chelsea, and Wimbledon. In 1982 he participated in the influential "Zeitgeist" exhibition at the Martin-Gropius-Bau Berlin. Following this he had many solo exhibitions in galleries both in Europe and the United States, such as Sperone Westwater, Rudolf Zwirner, Nigel Greenwood, LA Louver and Marlborough Fine Art.

The front (west-facing) facade is symmetrical, three bays wide, with a projecting entry vestibule in the center bay, and a fully pedimented gable with a half-round louver at its center. The entry has pilasters at all four corners (as does the building) and the entrance is recessed in a paneled opening, with a balustrade balcony above. Hampden Academy was established in 1803 and constructed its first building on this site in 1806. That building was destroyed by fire in February 1842, and the present building was built soon thereafter.

The Lower Warner Meetinghouse is located in a rural setting in eastern Warner, on the north side of NH 103 west of its junction with Schoodac Road. It is a 1-1/2 story wood frame structure, with a gabled roof and clapboarded exterior. Its main facade is three bays wide, with a recessed center entry framed by a pair of 20/20 sash windows. The entry is flanked by paneled boards, which are repeated on the corners, which rise to a triangular gabled pediment, whose tympanum contains a small triangular louver.

Throughout the 1950s, the Sixty Special would continue as a stretched and optioned-up version of the Cadillac Series 62, but lost the manual transmission. For 1950, Cadillac showed all-new styling on every car in the lineup, including the $3,797 Sixty Special. While the opulent interior rivaled no other Cadillac, the exterior styling was nearly identical to the less-expensive Series 62 models. The chrome louver trim that was mounted on the rear roof panel since 1942 was now moved to the lower rear doors, just forward of the rear wheel wells.

A wider arena and faster louver speed cause a faster, tighter vortex. Heated air (33, 34) from the crossway cooling tower (61) enters the concrete vortex arena (2) via two rings of directing louvers (3, 5, height exaggerated for clarity) and rises (35). The upper ring of louvers (5) seals the low-pressure end of the vortex with a thick, relatively high-speed air-curtain (34). This substantially increases the pressure difference between the base of the vortex (33) and the outside air (31). In turn, this increases the efficiency of the power turbines (21).

1947 Cadillac Series 75 1941 Cadillac Series 75 limousine 1941 Cadillac Series 75 hearse 1948 Cadillac Series 75 ambulance For 1941, the wheelbase was reduced to , though power on the L-head V8 engine was up to 150 hp (112 kW). The one piece hood came down lower in the front, included the side panels and extended sideways to the fenders. A single rectangular panel of louver trim was used on each side of the hood. The rectangular grille was wide, vertical, and bulged foreword in the middle.

The Vienna Town House is located northwest of the village center of Vienna, on the south side of Town House Road (SR 41) east of its junction with Mineral Springs Road. It is a single-story wood frame structure, with a gabled roof, clapboarded exterior, and granite foundation. The gable and eaves have paired brackets, and the main facade is symmetrical, with two entrances flanking a sash window, all set in round-arch openings. A half-round louver is set in the gable, above the entrance's and a marble panel honoring the building's donor.

The three entrances are set in round-arch openings with a fanlight above. The multistage tower has an arched louver above a marble date panel at the second stage, and a clock at the third stage, which is differentiated from the second by rounded corners. The belfry is octagonal, with round-arch louvered openings, and is topped by a smaller octagonal cupola and a short spire. The church congregation was founded in 1674, when Portland was known as Falmouth, and its early history was interrupted by Native American attacks.

The main facade, facing south, is symmetrically arranged, with a pair of entrances, each framed by pilasters and a bracketed cornice on either side of a single window. The gable end is decorated with a large triangular false louver. The interior has small vestibule areas, leading into the main chamber, which has original pews with two aisles, and a raised platform at the far end. The church was built in 1857 by Abiah Steward, and represents a well- preserved modestly-styled example of transitional architecture in a rural setting.

Developers silenced the whistle by removing every other louver in the cooling tower, thereby widening the narrow channels through which the wind whistled. The Moorish- inspired dome, which is a homage to the adjacent New York City Center on West 55th Street, is illuminated at night with a white light. The building has an unusual octagonal shape. CitySpire Center is part of a cluster of four tall towers along with the Carnegie Hall Tower (which mimics the design of its famous namesake concert hall), the Metropolitan Tower and One57.

The Madewood Plantation House is located on the northern bank of Bayou Lafourche, on manicured grounds separated from the bayou by Highway 308. It is a two-story masonry structure, built with massive brick walls that have been finished with stucco scored to resemble stone blocks. Its five-bay facade is fronted by a six-column Greek Revival temple front, that has Ionic columns rising to a broad entablature and fully pedimented gable with a half-round louver at the center. The second-level gallery has a delicate carved balustrade.

The facade's corners are pilastered, and there is a lancet-shaped louver near the peak of the gable. A tower rises from the gabled roof, with a square first stage, a six-sided louvered belfry as a second stage, and a six-sided steeple above.Bowley, Donovan (2014). NRHP nomination for Appleton Union Meeting House; available by request from the Maine Historic Preservation Commission The meeting house was built in 1848 by a union of non-Baptist congregations, as a place of worship that was not shared with the Baptists, who had built a church in 1845.

The body of the Honda City Turbo was made sportier by the addition of a new air dam with fog lights and asymmetrical grille at the front and a small spoiler at the top/rear of the car. Meanwhile, a hump was added to the hood to make room for the extra equipment of the turbocharged engine. In addition to flared fenders and "Turbo II Intercooler" graphics, the Turbo II also got a bigger bump in the hood, body colored bumpers and a louver ahead of the rear wheel. The interior appointments to the car focused both on driver involvement and comfort.

The porch stack is topped by a fully pedimented gable with a diamond window at the center. The adjacent house, 53 Houghton, has porches on the left of the facade and bands of tripled sash windows on the right. The porches are once again supported by grouped square columns, and are capped by a gabled pediment that matches the main roof gable in having a triangular louver at its center. 57 Houghton also has tripled windows instead of a bay, and had porches supported by Tuscan columns, but they have since been rebuilt and the house resided with modern siding.

The facelift could be ordered with two distinct design variants: Sport and Luxury, which featured two different front-end designs for each line. The Luxury version came with the classic saloon grille with 3-louver look and star on the hood. The Sport version featured the sports grille with integrated star, also a first time option, forming a visual link to the high performance sports car models. Sport models receive a more confident front design, using the AMG styling package that features larger air intakes and a distinct aluminum trim line along the entire lower rim of the front bumper.

Other divisions sold in 1986 included Americold and Danskin. Brands like Samsonite, Culligan, Stiffel Lamps, del mar window coverings, Louver Drape window coverings, Aristokraft kitchen cabinets, Day-Timer planner, Waterloo Industries tool boxes, Aunt Nellies and Martha White were merged into a new entity called E-II Holdings, which was later purchased by American Brands for 1.14 billion. E-II was created in June, 1987, as an umbrella company for several non-food and specialty food businesses of Beatrice. Meshulam Riklis bought E-II from American Brands in 1988; American Brands bought back Aristokraft, Day-Timer, Waterloo, Twentieth Century and Vogel Peterson.

The company was founded by Udom Pichitpongchai in 1936 to produce aluminium cookware. For its services and leading position it was awarded the royal warrant with the honourable emblem "By Appointment of His Majesty The King" in 1973. Chue Chin Hua has multiple sub-companies that produce different things such as cookware and utensils, but has expanded to include the production of outdoor lighting poles, luminaires, highway guardrails, steel bars, wire rods, aluminium sheets, coils and discs, window and door screens and louver windows. Another company that belongs to the group is the Aluminium Chue Chin Hua company.

The Sudbury Congregational Church stands in the modest village center of Sudbury, separated from Vermont Route 30 by the village green and accessed via a dirt road on the green's east side. It is a two-story wood frame structure, with a gable roof and clapboard siding. A two-story vestibule projects from the south-facing front facade, with a square tower straddling the transition between the main roof line and that of the vestibule. The tower has a single stage, with a half-round louver on its front face, and Gothic corner pinnacles surrounding a short steeple.

The Grand Isle United Methodist Church stands in the village of Grand Isle, on the north side of Hyde Road, about west of its junction with United States Route 2. It is a brick structure with a gable roof and a massive projecting Greek Revival portico, supported by four fluted Doric columns. The building corners have brick pilasters, and the front gable is finished in wooden clapboards, with a triangular louver at its center. A two-stage wooden bell tower rises from the roof, with a pilastered and corniced first stage, a louvered belfry at the second stage, and an octagonal steeple above.

Quillcote is set on the west side of Salmon Falls Road in the Hollis side of Salmon Falls village, on the banks of the Saco River in southeastern Hollis. It is a 2-1/2 story wood frame structure, five bays wide and two deep, with a front-facing gable roof and clapboard siding. This section has modest Greek Revival styling, including a fully pedimented gable that has three windows, the central one topped by a lancet-arched louver. The main entrance is centered on this facade, sheltered by a porch with Federal style Doric columns.

Heller, Steven & Fernandes, Teresa "Becoming A Graphic Designer – A Guide To Careers in Design" Hoboken, NJ: John Wiley & Sons, Inc., 3rd Edition, 2005 His design of the 17th "American Photography" annual received the 2001 Silver Award for "Outstanding complete book design" by British Design & Advertising. His clients included KCRW DJ Jason Bentley, art gallery L.A. Louver, and painter David Hockney makes more frequent use of illustration and hand-lettering.Heller, Steven & Ilic, Mirko "Handwritten – Expressive Lettering in the Digital Age" New York: Thames & Hudson, 2004 He created the main title typography and title design for the films The Fall, Immortals, and Mirror Mirror, all directed by Tarsem Singh.

The Sterling Homestead is a historic house at 2225 Main Street in Stratford, Connecticut. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof and two interior chimneys. A front-facing cross gable, decorated with a fan louver, stands centered above a Palladian window and the front entry, which is framed by sidelight windows and pilasters topped by an entablature. This house was probably built around 1790 for Abijah McEwen, and is most prominent for its association with John W. Sterling, a major local landowner and ship's captain engaged in the China trade, who purchased it in the mid-19th century.

Little survives except one timber building stump, a concrete step at the western and southern ends of the site and a small concrete pad with septic access grate. The site also contains a scatter of demolition rubble including asbestos fibro fragments, corrugated galvanised iron (CGI) sheets, metal louver frames, and metal ant caps. An overgrown garden of exotic flowering plants is on the western side of the presbytery. Behind the presbytery and extending up the gentle slope to the adjacent ridge is a light scatter of artefacts, including the remains of a porcelain urinal or toilet, an in situ septic downpipe, and numerous glass bottles and fragments.

The door and windows are framed by modest mouldings, and there is a half-round opening (presently filled with a louver, but originally with a window) in the gable above. The west facade is also three bays wide, with a more elaborate but false entrance at its center, framed by pilasters and topped by an entablature and cornice. A modernized ell extends eastward from the main block. The house was built about 1810 for John Treadwell, a Farmington native who was then serving as Governor of Connecticut; however, there is no evidence he ever actually resided here, since his residence was always listed as Farmington.

The Hall House is located in southern Wallingford, north of the village of South Wallingford, and a short way north of a point where the road and railroad are briefly in close proximity. The house is a 2-1/2 story brick structure, standing on the west side of the highway, with its front-facing gable oriented toward the road. The brick is laid in a combination of Flemish and common bond, with marble window sills and lintels, and marble stairs leading to the entrance. The entrance is set in the leftmost of three bays, in an arched opening with a louver above the door.

This facade is decorated with cornices supported by a simple edge. The smaller northeastern facade, along Travessa do Recolhimento de Lázaro Leitão, is separated from the anterior by stone corners, and includes two story facade, marked by three veins with an attic louver window. The central vain is the largest, with framed doorway decorated in limestone, providing access to a truncated elliptical interior atrium, connected by staircase to an oval hall, to a master staircase and the noble hall. This space occupies the eastern wing of the palace, a rectangular hall with two wings on the extreme western facade, that overlooks the gardens over five glass arches.

Due to its location on the corner of Beirut's Ashrafieh Mar Mitr quarter, the WAVE residential site faced a series of challenges due to sun exposure, solar overheating and privacy concerns. To mitigate these problems, Abboud and his team created a type of “second skin” for the structure, which acts as a screening mechanism by utilizing a horizontal louvered system. The structure's interactive parametric design allows the depth of the louvers to be controlled by an interior program based on the level of shading and privacy required. The louver becomes thinner with the need for less privacy or more sunlight, or deeper when more privacy or shading is desired.

In 1937 bodies were the same except for drip moldings running from the bottom of the front pillar up and over the doors and rear quarter window, new fenders and bumpers, headlights rigidly attached (adjusted by moving reflector), wheel discs incorporated a hubcap, and a built-in trunk was incorporated on most bodies. A die-cast eggcrate grille was used, but the hood louver treatment differed from that used in Fisher bodied cars. Chrome die cast strips were used at the rear of the hood side panels. A seven-passenger Fisher-bodied Special touring sedan, without a division window was offered on the wheelbase.

The house seems to have been not totally suitable for theatrical use; however, a low narrow hall, or salon, at the rear of the house was adapted for the performances. Rather than sitting in comfort, the audience had to sit on improvised benches, and so confined was the space available that the benches had to be arranged at an angle to the small stage to accommodate the large audiences who came. The small stage, described by Davenant as a "Cup-board stage", was adorned with gold and purple curtains. Above the stage in what was contemporarily described as a "louver hole" was concealed a small orchestra.

The second-floor bays are filled with sash windows, each with a lancet-shaped louver above. This detail is repeated in a window in the center of the gable, and in windows on the second floor side elevations. A two-stage tower rises above the facade, with a square first stage, and an octagonal belfry stage above, capped by an octagonal steeple. The church was built in 1790 (although it is not described as completely finished until 1795) as a five bay meetinghouse with the main entrance set on the long side that faces the common (which is used today as a secondary entrance).

The George Batchelder House stands in northern Reading, on the north side of Franklin Street just east of its junction with Main Street (Massachusetts Route 28). The house was originally oriented facing Main Street, and was moved a short distance to its present location in 1947. It is a 2-1/2 story wood frame structure, with a side low-pitch gable roof, two interior chimneys, and a clapboarded exterior. The house exhibits a few more high-style Federal period details than are typical for surviving houses in Reading of the period, including an elaborate entrance surround with tapered pilasters, sidelight windows, and a half-oval starburst louver above.

In Los Angeles, Hart served from 1990 to 1992 as an assistant director at the L.A. Louver Gallery, where she helped organize significant projects of Wallace Berman, Kienholz, and Jimmie Durham. From 1992 to 1994, she worked as international sales director at Gemini G.E.L., an artists’ workshop and publisher of limited edition prints and sculptures. As director at the fine arts publisher Muse [x] Editions from 1994 to 1999, she worked with artists such as Doug Aitken, John Baldessari, Uta Barth, Gregory Crewdson, Lyle Ashton Harris, Mike Kelley, Christian Marclay, Catherine Opie, Diana Thater, Pae White and Andrea Zittel. Hart has written pieces for a variety of art publications including Artnet, the Journal of Contemporary Art, Miami New Times, and Zing: A Curatorial Crossing.

1966 hardtops featured a formal roof design – DPL model 1966 AMC Ambassador 990 convertible 1966 Ambassador 990 Cross Country wagon For 1966, minor changes greeted the Ambassador range. The V-shaped horizontal louver spanned unbroken between the headlamps and the effect was continued with twin rectangular trim pieces attached to the side of the front fenders at their leading edges by the headlamps. The effect was repeated in the new vertical wraparound taillamps with the top-line models receiving a twin set of horizontal ribbed moldings across the back of the trunk lid that simulated the look of the front grille. Hardtop coupes received a redesigned roofline that was angular in appearance with an angle cut rear side windows and rectangular rear window.

The Lydia Blodgett Three-Decker is located on Worcester's Belmont Hill, a residential area east of its downtown, and stands on the east side of Eastern Avenue, between Vinson and Catharine Streets. It is a three-story wood frame structure, set on a high brick foundation and covered by a gabled roof. When the building was listed on the National Register of Historic Places in 1990, it was called out for its well-preserved Queen Anne styling, including its porch with Tuscan columns, and brackets in the roof corners near projecting bays, but these features have been compromised or lost by subsequent alterations. The left side of the gable roof extends lower than the right side, and there is a half-round louver in the gable end.

The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin, where it is on display in the atrium of the Peter O'Donnell Jr. Building. Deborah Butterfield is represented by Danese/Corey, New York; Anglim Gilbert Gallery, San Francisco; Greg Kucera Gallery, Seattle, Washington; LA Louver, Los Angeles, California; and Zolla/Lieberman Gallery, Chicago, Illinois. The Honolulu Museum of Art,Honolulu Museum of Art, Spalding House Self-guided Tour, Sculpture Garden, 2014, pp. 9 & 14 the Rockwell Museum (Corning, N.Y), the Whitney Museum of American Art (New York City), the Metropolitan Museum of Art (New York City), the Delaware Art Museum, the Boise Art Museum,Boise Art Museum Annual Report 2005–2006, May 1, 2005 – April 30, 2006 the Albrecht- Kemper Museum of Art (St.

Before his death at age 32, Wilf had already had four solo exhibitions in commercial galleries, as well as solo exhibitions at LACE and Los Angeles Institute for Contemporary Art (LAICA). His work had been included in dozens of group shows such as the 1975 Whitney Biennial, Newport Harbor Art Museum, Los Angeles Municipal Art Gallery, Long Beach Museum of Art, Mandeville Art Gallery, Oakland Museum, as well as commercial galleries: Allan Frumkin Gallery, Ulrike Kantor, and L.A. Louver. Former LACMA curator Maurice Tuchman wrote “[Wilf’s] late paintings –the meat still lifes, raw and emotional exclamations which brought him renown— were the result of years of patient work in another, much more subdued manner…. This modest show should not preclude a large retrospective at some future date.”Maurice Tuchman.

Mr. Wilson's Cabinet of Wonder was shortlisted for both the Pulitzer Prize and the National Book Critics Circle Award; and Everything that Rises received the 2007 National Book Critics Circle Award for Criticism. Recent books include a considerably expanded edition of Seeing is Forgetting the Name of the Thing One Sees, comprising thirty years of conversations with Robert Irwin; a companion volume, True to Life: Twenty Five Years of Conversation with David Hockney; Liza Lou (a monograph out of Rizzoli); Tara Donovan, the catalog for the artist’s recent exhibition at Boston’s Institute for Contemporary Art, and Deborah Butterfield, the catalog for a survey of the artist’s work at the LA Louver Gallery. Weschler has taught, variously, at Princeton, Columbia, UCSC, Bard, Vassar, Sarah Lawrence, and NYU, where he is now distinguished writer in residence at the Arthur L. Carter Journalism Institute.

The glacis plate is unchanged, except for the addition of a support bracket for the gun turret, which is folded down when not in use. As such, the Sholef and Merkava series share a large percentage of common components. The front-left side of the chassis has a prominent exhaust louver, along with a much smaller port just in front of it; the exact function of this port is uncertain, though the soot seen around it in photos of the Sholef suggests it may be a new or additional exhaust port, or perhaps an outlet for a smoke generator. The Sholef can be ready to fire only 15 seconds after coming to a complete stop, and fire three projectiles in only 15 seconds. It is compatible with standard NATO 155 mm ammunition, and a total of 75 projectiles can be stowed in one Sholef, 60 of which are ready for combat. The Sholef's 155mm/52 gun is an original design created by Soltam, though it bears a resemblance to South Africa's G5 Howitzer.

Bevan was born in Bradford, Yorkshire. He studied at Bradford School of Art from 1968 to 1971, followed by Goldsmiths' College, London from 1971 to 1974, and the Slade School of Fine Art from 1974 to 1976. He was elected to the Royal Academy of Arts in London as an Academician in 2007. Bevan came to prominence as an artist in the 1980s, taking part in the ICA show Before it hits the floor in 1982,Sandy Nairne, Before it hits the floor (London: Institute of Contemporary Arts, 1982) Problems of Picturing, curated by Sarah Kent and held at the Serpentine Gallery in London in 1982-83,Sarah Kent, Problems of Picturing (London: Serpentine Gallery, 1982) and The British Art Show, a touring exhibition of contemporary art, in 1984.Thomson et al, The British Art Show: Old Allegiances and New Directions, 1979-1984 (London: Arts Council of Great Britain, 1984) This was followed by exhibitions mainly in the USA and Germany, including the LA Louver Gallery, California, in 1989, 1992 and 1995, and Kunsthalle, Kiel, in 1988, Staatsgalerie Moderner Kunst Haus der Kunst, Munich, in 1989, and Galerie Wittenbrink, in Munich, during the 1990s.

Uslé has been exhibiting since the 1980s and since then has had numerous solo and group exhibitions across Europe, North America and South America. He is represented by Frith Street Gallery in London, Cheim & Read in New York City, Gallery Thomas Schulte in Berlin and L.A. Louver gallery in Los Angeles. Recent solo exhibitions of Uslé's work include Notes on Soñe que Revelabas, Museu D'Art Contemporani D' Eivissa MACE, Ibiza (2019), Open Night, Frith Street Gallery, London (2018), Al Clarear, Frith Street Gallery, London (2014), Dark Light, Kunstmuseum Bonn, Germany; travelling to Centro Galego de Arte Contemporánea, Santiago de Compostela (2014), Nudos Y Rizomas, Es Baluard, Museu d’Art Modern i Contemporani de Palma, Majorca (2010), Juan Uslé: MO-HI-NA, Frith Street Gallery, London (2009), Centro de Arte Contemporáneo, Málaga (2007), Open Rooms, Fundacion Marcelino Botin, Santander (2004), SMAK, Stedelijk Museum voor Actuale Kunst, Ghent (2004), IMMA, Irish Museum of Modern Art, Dublin (2004), Open Rooms, Palacio de Velazquez, Museo Nacional Centro de Arte Reina Sofia, Madrid (2003), Juan Usle First Time, Museum Morsbroich, Leverkusen, Germany (2002), Museo de Bellas Artes de Santander, Centro Cultural Caja de Cantabria (2000), among others. He has also participated in a number of recognized group exhibitions, including Al Norte de la tormenta.