Custom flooring and wall covering supplied to Melbourne children’s hospital | Colored Polycarbonate Sheet

While I tried to stick with Xiaomi’s offerings for the purposes of this review, it became simply impossible to do so when, for example, I needed to access the photos synced to my Google account. You may not be able to delete Xiaomi’s apps, but if you are already invested in Google’s ecosystem, it’s also not particularly difficult to just keep on doing what you’re doing. You’ll just have to go through a ton of clicks and confirmations to change your defaults; boy, Xiaomi really doesn’t want you to change those.

This doesn’t mean that you can damage a polycarbonate shell and then wear it again; on the contrary, the video will show what happens once the EPS absorbs the energy.

Jo, H., Ahn, H. S., Kang, S. & Kim, M. H. A study of nucleate boiling heat transfer on hydrophilic, hydrophobic and heterogeneous wetting surfaces. International Journal of Heat and Mass Transfer 54, 5643–5652 (2011).

The clear back – or more accurately, the clear layer – is surrounded by a plastic frame. This is made out of soft-touch plastic, which actually feels awesome in the hand. It’s a shame that this is ruined by two more instances of branding (kind of excessive), as well as another set of horrible buttons like we saw on the Atomic. These aren’t as bad since they don’t jab you, but they’re still much harder to press than they should be. The power button in particular takes a metric buttload of force to push down. I don’t know how anyone could green-light them.

Now, the once-rubble-filled room is complete with a polished concrete floor, and a 34-foot-long wood bar top. There are exposed beams and brick walls, metal stools, and wood-and-brick shelving behind the bar.

Early acoustics materials focused on absorbing sound—soaking up sonic energy rather than reflecting it. That approach produced its own idiosyncratic soundscape. As the science historian Emily Thompson explains in her book The Soundscape of Modernity, absorptive materials removed reverberation, producing “clear and direct” sound. “In a culture preoccupied with noise and efficiency,” Thompson writes, “reverberation became just another form of noise, an unnecessary sound that was inefficient and best eliminated.”

These cool photographs are not marketing for the building (that will be handled by others), nor are they a design tool. They are relics of a ritual. They document a separation. They depict the final state of the building before it is handed over to its owners, a kind of pre-occupancy survey. In this sense, they are mementos for the architects alone. Manifesting a particularly architectural way of visualizing space, they reflect what the architects wish to record of their own work. That they are then available to the public on websites is almost an afterthought, as evidence of having completed (or in German, vollendet, perfected) a project. The oblique relationship between the photographs and their audience makes them particularly interesting. Their uncanny homogenity is not rule based, nor determined by market pressures; it is close to spontaneous, a kind of symptom. Lacking any urgent function, their individual emptiness and collective form reveals to the viewer what they had anticipated of photography, or rather, reveals expectations by denying them. It was perhaps this capacity to be both designed and symptomatic that have made the images, and subsequently the Swiss Pavilion itself, so unsettling. The Swiss Pavilion can be understood as a built response to this research archive of images. This is not the only way to read the pavilion and its installation, but it is one way. In Svizzera 240, the viewer enters a space that looks just like one of the photographs. The visitor walks through rooms in which proportions were preserved, but not the scale, so that the visitor became alternately too big or too small for the rooms that they were in. Like an act of courtesy that unintentionally reveals an ulterior motive, or a film set seen from behind, the Swiss Pavilion quietly and unpolemically reveals both new levels of convention, even automatism, within design, as well as new domains of creative freedom.

David Pekel, owner of Pekel Construction & Remodeling Inc., Wauwatosa, and president of the National Association of the Remodeling Industry, said he’s seeing garages being improved when those who own older homes make "changes in other parts of their homes to add square footage.

The loop can’t be fixed, as Ive acknowledged, with a laugh. But, as far as possible, Ive has turned it into an industrial-design product. From the point of view of his discipline, an office building is a handmade prototype that fails to go into production. And Ive sees no intrinsic virtue in making things by hand: “You can have careless, unqualified craftspeople.” So, if a vast unvarying loop could be thought of as a Jobs hangover, it’s also an opportunity for mass production. When Ive enthuses about the building, it’s on these grounds. “You have a kit of elements and you just make lots of them,” he said, happily. Ive’s studio largely designed the building’s “void slabs”: forty-four hundred precast-concrete units that will have a floor on one side, a ceiling on the other, and a cooling system between them. They are being manufactured in an Apple-built factory in Woodland, California. “We’re assembling rather than building,” Ive said.

There’s a gradual slope leading to the fingerprint sensor, as anything else would make it next-to-impossible to use. The angular cutout around the camera and flash makes for an aggressive overall look, which does make it appear pretty menacing. The USB-C port is covered by a cover that, in an interesting twist, is hinged from the top. This cover is useless unless you frequent extremely dusty environments, as the Pixel 2 and 2 XL are already IP68 rated against water and dust. The buttons are a little harder to press than I’d like, but they do produce satisfying clicks.

What that means is that the Core-based XSLATE L10 is a high-performance tablet for virtually any job, even complex, demanding ones. It actually beat our new 6-core Intel 8th generation "Coffee Lake" powered office Dell Vostro desktop with nVidia discrete graphics (the big Vostro, in fairness, had a handicap in its use of a rotating hard disk instead of solid state disk).

Spigen advertises a few things on its Amazon listings, both of which are pretty funny. The first is that the dotted pattern on the back prevents the rainbow effect. Well, I applaud the company for trying, but there’s still a very noticeable rainbow effect (yes, the phone and case are both clean). The second is that you can put cards like your driver’s license and credit card inside the case. I don’t know who came up with this, but that’s a great way to stretch the case out and even scratch the back of your phone up.