Decorative Electrical Wall Plates - Decorator Table.

Decorative Electrical Wall Plates

decorative electrical wall plates

    wall plates
  • (wall plate) plate (a timber along the top of a wall) to support the ends of joists, etc., and distribute the load

  • (Wall-plate) A wall plate, a structural element in the light frame construction method known as platform framing, is a horizontally laid structural element at right angles to the load bearing part of the vertical load (weight) of a building.

  • A piece of lumber laid horizontally in or on a wall as a support for a girder, rafter, or joist

  • A metal plate fixed to a wall, for attaching a bracket or other device

  • (Wall Plate) A horizontal member anchored to a masonry wall to which other structural elements may be attached. Also called head plate.

  • (decoratively) in a decorative manner; "used decoratively at Christmas"

  • Relating to decoration

  • cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"

  • (decorativeness) an appearance that serves to decorate and make something more attractive

  • Serving to make something look more attractive; ornamental

  • Concerned with electricity

  • relating to or concerned with electricity; "an electrical engineer"; "electrical and mechanical engineering industries"

  • (electric) (of a situation) exceptionally tense; "an atmosphere electric with suspicion"

  • electric: using or providing or producing or transmitting or operated by electricity; "electric current"; "electric wiring"; "electrical appliances"; "an electrical storm"

  • Operating by or producing electricity

decorative electrical wall plates - Jagged Zebra

Jagged Zebra Skin Print Decorative Outlet Cover

Jagged Zebra Skin Print Decorative Outlet Cover

Handcrafted to the highest standards using the artistry of the decoupage technique, artwork is triple sealed with a special sealant to ensure durability,easy cleaning and obtain an enamel like finish. Artwork will not fade. Our switchplates are heavy duty plastic nylon that is virtually unbreakable and hardware is included. A cinch to install. Each one of our switchplates is handcrafted with great individual care using licensed materials. We also offer matching Outlet Covers, Double Size Switchplates, Triple Size Switchplates, Rocker GFI Covers, Combo Switchplates, Phone and Cable Covers. We guarantee your complete satisfaction or money back. We are sure you will be delighted with these unique items. Items will arrive via USPS and a tracking # will be sent to you. Also Check out our matching Drawer Knobs here on Amazon.

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Mildred Bldg, 1400 Block Calder Ave, Beaumont, TX

Mildred Bldg, 1400 Block Calder Ave, Beaumont, TX

The Mildred Buildings are a Mediterranean Revival style complex of apartment, store and garage buildings on half a city block at the corners of Calder Ave., Mariposa Street and Oakland, near downtown Beaumont. The exterior walls are terra cotta and brick with molded decorative concrete lintels, bronze and wood rejas and balustrades, and both mission tile and terra cotta parapet walls. Transition spaces between the buildings are landscaped with plants, a fountain and bird baths appropriate to the style of the buildings and use of the spaces. Draperies, hand-carved furniture imported from Spain and art work original to the structures remain in the public areas. The apartment building is a three-story brick structure with 18 apartments, a penthouse and basement on the corner of Calder and Oakland. The north (Carder Ave.) elevation has a central projecting pavilion with a bronze reja at the central entry. A bay window with three stained, leaded glass windows projects above an elaborate post and beam portale, with a mission-tile-roofed, ornately pillared arcade at the second floor level. On either side is an irregular assortment of double hung wood windows, arched openings with bronze or wooden rejas and balcony railings. A parapet wall above the third floor conceals the roof deck and roof garden. Brick towers and an arcade containing the penthouse and mechanical systems are set back and rise above the parapet wall. The east (Mariposa St.) elevation shows a similar assortment of openings and elaborate detail, but without the central projecting entry pavilion. There are quatrefoil openings in two towers projecting above the third story in front of the parapet wall. Each apartment has a fireplace, 4.5" wide ceiling moldings, plaster-arched openings and a balcony. Some have solariums, and all have complete dressing room facilities. Ceilings are 11 feet high. The one-story arcaded commercial building consists of nine office or store spaces plus a large 11,974 sq. ft. store space on the corner of Calder and Mariposa. Openings behind the arched arcade are plate glass with marble wainscoting at street side. Each space has a bronze reja at the front and rear entries, and a mezzanine over the rear. The flat roof is concealed by a terra cotta parapet with finials. There is a second story tower at each end of the Calder Avenue side with double arched openings centered on each wall and a terra cotta finial at the peak of the tile roof. Ceilings in the store spaces are 14 feet high. The garage building fronts a concrete paved, 20 foot wide alley behind the commercial building and has access from Mariposa and Oakland Streets. Walls are of brick, with the west wall being a common wall with the commercial building. The roof is gabled truss steel with concrete slab and decking. Windows are steel casement. It was originally designed for 25 cars, but has a modern car capacity of 18 automobiles. All three buildings are in excellent condition. A supply of surplus custom hardware and other custom items for repairs and replacements was stored in the buildings when they were constructed in 1929. The original electrical and mechanical systems, including an intercom to each apartment from the lobby, were the most sophisticated available for that time. They are still in excellent operating condition. The buildings will continue to be maintained by the owner in the superior manner in which they have been in the past.

The Mildred Buildings were designed and built in 192930 by the Austin Co. of Texas, Dallas, Texas, for $700,000. The Mediterranean Revival-style complex of apartment building, store building and garage was commissioned by Miles Frank Yount, a wealthy Spindletop oilman. They were named for his 8-year-old adopted daughter. Mildred was said to be the wealthiest girl in the United States when she inherited $12 million in Spindletop oil resources at the age of fourteen. The building named for her is an excellent example of the elegant structures erected in Beaumont in the late 1920's and early 1930's due to the deep oil discovery at Spindletop by the Yount Lee Oil Co. in 1925. This oil discovery caused Beaumont's most rapid growth period and had a profound influence on the nation's economy as a whole. The buildings still maintain a high occupancy rate and prestigious reputation. It is an outstanding example of planned area development with the buildings and transition spaces thorough integrated with and related to each other .

Yount's life history is a classic tale of a poor farm boy becoming one of the country wealthiest men. Miles Frank Yount was the eldest son of an Arkansas farmer, Joseph Nathaniel, and his wife Hattie Minerva Yount. After Joseph Yount's death nine year-old Miles Frank had to quit school to work on the farm.

By 1897 he had left the family farm to work with an irrigation crew on a rice farm near Beaumont. Around the turn of the century he became interested in Spindletop oil stories. He talked to oil

Getty Museum Garden

Getty Museum Garden

From Wikipedia:

The Getty Center, in Brentwood, Los Angeles, California, is a campus for cultural institutions founded by oilman J. Paul Getty. The $1.3 billion Center, which opened on December 16, 1997,[2] is also well known for its architecture, gardens, and views (overlooking Los Angeles). The Center sits atop a hill, which is connected to a visitor's parking garage at the bottom of the hill by a three-car, cable-pulled tram. The Center draws 1.3 million visitors annually.
It is one of two locations of the J. Paul Getty Museum. This branch of the museum specializes in "pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; and 19th- and 20th-century American and European photographs".[3] Among the works on display is the painting Irises by Vincent van Gogh. Besides the Museum, the Center's buildings house the Getty Research Institute (GRI), the Getty Conservation Institute, the Getty Foundation, and the administrative offices of the J. Paul Getty Trust, which owns and operates the Center. The Center also has outdoor sculptures displayed on terrances and in gardens. The Center was designed by architect Richard Meier and includes a central garden designed by artist Robert Irwin. GRI's separate building contains a research library with over 900,000 volumes and two million photographs of art and architecture. The Center's design included special provisions to address concerns regarding earthquakes and fires.
Contents [hide]
1 Location and history
2 Architecture
3 Arrival court and central rotunda
4 Museum
5 Central Garden
6 Getty Research Institute (GRI)
7 Other offices
8 Preparation for natural disasters
8.1 Earthquakes
8.2 Fires
9 Panoramic view looking south
10 References
11 Further reading
12 External links
[edit]Location and history

USGS satellite image of the Getty Center. The circular building to the left is the Getty Research Institute. The two buildings at the top are the Getty Trust administrative offices and the rest is the Museum.
Originally, the Getty Museum started in J. Paul Getty's house located in Pacific Palisades, Los Angeles, California in 1954. He expanded the house with a museum wing. In the 1970's, Getty built a replica of an Italian villa on his home's property to better house his collection, which opened in 1974. After Getty's death in 1976, the entire property was turned over to the Getty Trust for museum purposes. However, the collection outgrew the site, which has since been renamed the Getty Villa, and management sought a location more accessible to Los Angeles. The purchase of the land upon which the Center is located -- a campus of 24 acres (9.7 ha) on a 110-acre (45 ha) site in the Santa Monica Mountains above Interstate 405, surrounded by 600 acres (240 ha) kept in a natural state -- was announced in 1983.[4] The top of the hill is 900 feet (270 m) above I-405, high enough that on a clear day it is possible to see not only the Los Angeles skyline but also the San Bernardino Mountains to the east as well as the Pacific Ocean to the west.[5][6]
In 1984, Richard Meier was chosen to be the architect of the Center.[7] After an extensive conditional-use permit process,[4] construction by the Hathaway Dinwiddie Construction Company [8] began in August 1989.[9] The construction was significantly delayed, with the planned completion date moved from 1988 to 1995 (as of 1990).[10] By 1995, however, the campus was described as only "more than halfway complete".[4]
The Center finally opened to the public on December 16, 1997.[2][11] Although the total project cost was estimated to be $350 million as of 1990,[10] it was later estimated to be $1.3 billion.[12] After the Center opened, the villa closed for extensive renovations, and reopened on on January 28, 2006, to focus on the arts and cultures of ancient Greece, Rome, and Etruria.[13] Currently, the museum displays collections at both the Getty Center and the Getty Villa in Pacific Palisades.
In 2005, after a series of articles in the Los Angeles Times about the spending practices of the Getty Trust and its then president Dr. Barry Munitz, the California Attorney General conducted an investigation of the Getty Trust and found that no laws had been broken. The Trust agreed to appoint an outside monitor to review future expenditures.[14] The Getty Trust experienced financial difficulties in 2008 and 2009 and cut 205 out of 1,487 budgeted staff positions to reduce expenses.[15][16] Although the Getty Trust endowment reached $6.4 billion in 2007, it dropped to $4.5 billion in 2009.[17]

Cactus Garden perched on the south of the Getty Center, with West Los Angeles in the background
Meier has exploited the two naturally occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the gallerie

decorative electrical wall plates

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