NeoCon 2016: Bold colors and innovative designs at this year’s show | Lexan Polycarbonate Embossed Sheet

An Integral Link rear suspension with forged aluminum toe links and upper control arms delivers the high lateral stiffness needed for exceptional handling precision, together with the longitudinal compliance needed for outstanding ride comfort and refinement. At Land Rover, we believe that an Integral Link set-up is the most sophisticated and most capable rear suspension system available. The design is also highly space efficient, minimizing intrusion into the luggage compartment.

Deep, wide storage compartments in the lower door casings have been designed to accommodate 24oz beverage containers with ease. The center console provides additional storage behind the lower touchscreen – ideal for storing valuables away from view.

Creative West will cover sales for Colorado, Idaho, Montana, Northern Nevada, Utah and Wyoming; and Tegan Marketing will represent ASI in the Dakotas, Minnesota and Iowa; while Midwest Noise Control has control of Kansas, Oklahoma and Western Missouri sales. Further, Golterman & Sabo is in charge of Southern Illinois and East Missouri; and Lanton Associates will represent ASI in Arizona, Southern California and Southern Nevada. East of the Mississippi, Zurca Construction Solutions is covering Georgia, Alabama and Tennessee; and Design Sales will lead New Jersey, New York City and Long Island.

The system is built around a single-speed transfer case featuring a multi-plate wet clutch and a chain drive to the front axle. Designed to be compact and quiet in operation, the transfer case’s main advantage is its speed: depending on conditions it can make the transition from 100 percent rear bias to fully locked in only 165 milliseconds; transient torque delivery to the front axle can take as little as 100 milliseconds. This makes the AWD system incredibly responsive, which delivers exceptional performance in various conditions2.

The studio adopted a modular system for the watch: a body in various materials, and a choice of interchangeable straps. Six weeks into the project, the studio built its first model.

A few years later, in 2004, a visitor to the studio might have noticed a rudimentary, oversized touch-responsive screen lying on a table. “It was very crude, involving projectors,” Ive said. The studio hadn’t invented the essential technology—nor, indeed, had Apple engineers—but the designers helped guide it to market, over years. Ive was now involved “in the fundamentals of the products—how to build them efficiently, the technology, how to cool them,” as Bob Mansfield put it. Ive told me that he initially pressed for a tablet, then agreed with Jobs that a phone should come first: a tablet would have presented consumers with a new category of machine, and a new way of communicating with a machine, all at once. By the time the iPhone was launched, in 2007, Ive had become “the hub of the wheel,” Mansfield said.

On a recent late-summer Saturday, as the fall sets into the trees and empty lots near the end of Girard Avenue in Fishtown, Kurant Tap House is hopping.

One of the others voting "present," U.S. Sen. Sheldon Whitehouse, D-Rhode Island, praised his colleagues on the committee for their "considerable goodwill, friendship and good work."

फरवरी में ब्राजील में लॉन्च होगा Moto G7 स्मार्टफोन

Was Svizzera 240 a critical work? Unlike many of the national pavilions in the Biennale, the Swiss Pavilion did not assert its criticality. It also has to be admitted that the joy the installation evoked contained an enjoyable touch of regression; of suddenly arriving in a kitchen and discovering that one had the perspective of a five-year-old child. But a work that offers the pleasures of regression does so temporarily, and once it recedes, can leave a residue of insight. At the entry of the pavilion was not one door, but two. The other door, left open, showed a kind of trompe l’oeil, a false room that looked as if it had been built to correspond with a naively drawn perspective, as if by a child. Pleasures—even infantile pleasures—are not necessarily incompatible with criticality. In the 1960s, Christian Enzensberger translated Alice in Wonderland, and later Alice through the Looking Glass, from English into German. He could not help but translate them as political allegories, and this was how they were received: both as children’s stories and as political stories. The Red Queen, the White Rabbit, all the figures appeared in post-war Germany with an extraordinarily different valence than their role in Victorian England. And Alice, sometimes she grows to the point that she dominates her world, and sometimes when she shrinks, she threatens to disappear within it. Alice is pure potential. Some arguments are made best simply by demonstrating them as physical truths.

The “blown” EPS must also be kept in a climate-controlled storage area until its molded into the correct shape.

Architectural acoustics—a field that integrates architecture, building construction, and the physics of sound—is part building engineering (mitigating noise and vibrations) and part design. In the latter, more glamorous role, acousticians deploy a wide range of materials and construction techniques to sculpt pleasant-sounding spaces that service a building’s function, be it a restaurant or a concert hall. Unfortunately, acoustics is often an afterthought, something used to correct errors after construction if noise proves annoying. By then, it’s too late.