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The four-bedroom colonial at 63 Mountain Brook Road in North Haven is on a lush 1.10-acre setting with a screened porch and deck.

Installation is simultaneously straightforward and tedious. It’s straightforward in that you should simply be able to line the camera and the flash up, then fold the edges down to surround the sides of the phone, but it’s a lot more difficult in practice to get these all lined up and centered. This was not helped by the adhesive’s backing having tons of little circles stuck on the adhesive, meaning that I had to painstakingly remove each one (first-world problems, I know). After finally somewhat centering the skin around the USB Type-C port and having all the corners line up, which took about 20 minutes, then applying the little wooden buttons included on a separate sheet (which was pretty easy), I was finished.

Imagine you are looking through a sequence of photographs. One image after another, all of empty rooms. On superficial inspection, they all look the same. And they seem to show the same thing: nothing. No furniture, no people. Just empty rooms inside empty apartments. The rooms are clean and white. They look new. The light is diffuse, northern. Even the shadows it throws are soft. In one room is a floor of polished concrete, in another, wooden parquet. Sometimes there is a window visible, a patch of sky, a branch of a tree in leaf, hinting at summer, but not enough information to work out what city it is in. The walls sometimes seem to converge, or fall away from the lens. You look at the photographs a little more carefully. You are used to seeing 90° corners splayed out by wide angle lenses, but these odd angles are no artefact of perspective: these are spaces that are no longer exclusively defined by right angles, and abandoning that assumption leaves you a little displaced. The emptiness of the room is not the “subject” of these photographs, exactly. These are not studies of the geometry of empty spaces, because the images don’t encompass the whole room, but only reveal one corner at a time. Rather than on the void, the emphasis seems to be on thresholds, on openings. There’s often a doorway in front of you, and it’s usually slightly ajar. Cumulatively, the photographs convey the feeling of being in a labyrinth, or a first-person shooter for existentialists. As you flick, or scroll, through the pictures, you move from room to room in your imagination, but you never leave the building. You become disoriented.

Another feature of today’s restaurants that greatly increases the loudness inside are open kitchens—where the making of the food is on full display. This design used to be relegated to the lowly diner. But fine-dining restaurants began to expose their kitchens during the 1970s and early ’80s; Pearlman attributes the trend to Wolfgang Puck (though he didn’t invent the idea). Puck’s restaurant Spago, which opened in 1982, was one of the first high-profile restaurants to feature a centrally located brick oven, and was met with widespread critical acclaim. Other design trends that increased the volume of eating establishments also got their start at this time, including the communal table and full-service bar dining.

"We are rightfully concerned for the tenants of the Jones Walker property." Senators Marco Rubio and Bill Nelson

So Xplore did the test on a single unit that was on during the entire battery of 26 drops. And they did it from six feet. It passed.

Figure 5 shows the importance of Bond number and capillary length on the boiling enhancement of bi-conductive surfaces, where all fluid properties are evaluated at the saturation temperature and the edge length of the sample is used as the characteristic length for bare copper. A clear maximum in performance is seen when the superheat wavelength (and pitch between epoxy divisions, P) coincides with the capillary length of the fluid, and the Bond number approaches unity. This optimal wavelength can be explained by examining the nominal bubble departure diameter during boiling. This is traditionally characterized by defining the Bond number using the bubble departure diameter, D, as the characteristic length. Numerous correlations exist to predict bubble departure using the nondimensional departure diameter given by 33,34,35,36,37. These include the classical works of Fritz36 and Cole and Rohsenow34, which have shown good agreement with experimental results for decades. Fritz’s empirical correlation relates the departure diameter to the contact angle of the surface, θ, and is given by

“I went with poplar on the parts that are going to have the most human contact (legs, top and outside skirt, because pine is so dang soft”–that’s a good thought, but depending on the pine species, poplar isn’t necessarily harder (http://tinytimbers.com/janka.htm).

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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 Range Rover Velar brings a new dimension of glamour and elegance to the Range Rover family. Designed to slot between the Range Rover Evoque and Range Rover Sport, this is a new type of Range Rover for a new type of customer.

Hill Descent Control (HDC®) uses the ABS system to assist in maintaining a controlled vehicle speed on steep declines without driver intervention. HDC incorporates Gradient Release Control to progressively release the brakes when moving away on an incline2.