SKU: 30542808623

Küchenrückwand Motiv 0079

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Description

Küchenrückwand Motiv 0079Was ist eine Kchenrckwand? Ihre Kchenrckwand wird gefertigt aus einer 3mm starken Aluminiumverbundplatte oder kratzfesten Acrylglasplatte. Eine Alu Verbundplatte besteht aus zwei Aluminiumschichten und einem Polyethylenkern die unsere Kchenrckwnde besonders stabil und wasserdicht machen. Unsere kratzfeste Acrylglasplatte stellt die hochwertigste Verarbeitung fr Kchenrckwnde dar. Acrylglas hnelt optisch echtem Glas, lsst sich jedoch nachtrglich noch

Was ist eine Küchenrückwand?
Ihre Küchenrückwand wird gefertigt aus einer 3mm starken Aluminiumverbundplatte oder kratzfesten Acrylglasplatte. Eine Alu-Verbundplatte besteht aus zwei Aluminiumschichten und einem Polyethylenkern die unsere Küchenrückwände besonders stabil und wasserdicht machen. Unsere kratzfeste Acrylglasplatte stellt die hochwertigste Verarbeitung für Küchenrückwände dar. Acrylglas ähnelt optisch echtem Glas, lässt sich jedoch nachträglich noch bearbeiten (Bohrungen / Ausschnitte). Zudem hat es einen noch höheren UV-Schutz als Glas, wodurch Bilder länger gegen UV-Licht geschützt werden. Das Motiv wird von hinten auf die Acrylglasscheibe gedruckt – so ist das Bild bestens gegen Einflüsse von außen geschützt. Acrylglas ist weicher als echtes Glas und muss daher vorsichtiger mit geeigneten Mitteln gereinigt werden. Unser spezielles kratzfestes Acrylglas ist im Gegensatz zu herkömmlichen Acrylgläsern jedoch besonders kratzfest. Raue Schwämme können die Scheibe nicht so leicht verkratzen. Machen Sie sich selbst ein Bild und bestellen Sie ein Muster.

Welche Größen gibt es?
Ihre Küchenrückwand können wir in jeder beliebigen Größe von 10 cm x 10 cm bis 150 cm x 300 cm fertigen. Geben Sie Ihr Wunschmaß einfach in unseren Konfigurator ein, wir fertigen jede Rückwand individuell nach Ihren Vorgaben. Ihr Maß ist hier online nicht möglich oder Sie haben weitere Fragen? Wir freuen uns auf Ihren Anruf oder Ihre E-Mail.

Welcher Ausschnitt des Gesamtmotivs wird gefertigt?
Nach Bestelleingang senden wir Ihnen eine Vorschau des möglichen Ausschnitts zu. Wenn alles stimmt bestätigen Sie uns die Auswahl und Ihre Küchenrückwand geht in Produktion.

Kann ich ein eigenes Motiv fertigen lassen?
Selbstverständlich! Bitte beachten Sie jedoch dass Ihr Motiv eine sehr gute Auflösung haben sollte. Gerne beraten wir Sie dazu.

Kann ich vorab ein Muster bestellen?
Handmuster aller Motive finden Sie in unserem Muster-Bereich oder Sie wählen das Muster direkt in der Konfiguration aus. Wir fertigen alle Muster auf Original Material und im A4 Format um Ihnen eine bestmögliche Vorstellung zu bieten. Probeandrucke eigener Motive können dort ebenfalls bestellt werden.

Wir empfehlen vorab ein Muster zu bestellen aus folgenden Gründen:
- passt unsere Küchenrückwand zu ihren individuellen Reinigungsgewohnheiten?
- gefällt das gewählte Motiv farblich? Durch unterschiedlichen Bildschirmeinstellungen kommt es bei der Darstellung der digitalen Vorschau hier im Shop sowie bei der Druckvorschau per E-Mail zu leichten Farbabweichungen. Das Produktionsbild kann daher farblich abweichen.
- wie ist die Auflösung des Druckes in 1:1?

Unsere A4 Muster bieten wir Ihnen zum Selbstkostenpreis an.

Wie bohre und säge ich richtig?

Vor dem Bohren und Sägen sollten Sie den Bereich mit Kreppband abkleben um Beschädigungen zu vermeiden. Für den Zuschnitt nehmen Sie am besten eine Tauchsäge oder Stichsäge mit möglichst feinem Blatt. Raue Schnittkanten können Sie vorsichtig mit Feile oder Schleifpapier nacharbeiten. Löcher bohren Sie am besten mit einem möglichst feinen Kronbohrer.

Wie messe ich richtig?
Wir empfehlen pro Platte 6mm von der Höhe und 6mm von der Breite abzuziehen damit zu allen Seiten 3mm zum Abdichten mit Silikon bleibt.

Wie montiere ich richtig?
Alle Untergründe sollten glatt und fettfrei sein. Aluverbundplatte: Ziehen Sie VOR Montage der Platte die Schutzfolie auf der Rückseite ab. Acrylglasplatte: Ziehen Sie die Schutzfolie auf der Vorderseite erst NACH der Montage ab. Als Kleber für die Aluverbundplatte empfehlen wir unseren lösemittelfreien Montagekleber den Sie weiter unten beim Zubehör finden. Für unsere Acrylglasplatten empfehlen wir unser Schaumklebeband. Bitte beachten Sie die Anweisungen des Herstellers. Nachdem der Kleber getrocknet und die Platte fest ist können Sie die Fugen mit Silikon abdichten. Hierzu empfehlen wir unser lösemittelfreies Silikon welches Sie ebenfalls weiter unten beim Zubehör finden.

Wie reinige ich richtig?
Verwenden Sie für die Reinigung nur ein weiches Baumwolltuch und sanftes Spülmittel. Alternativ können Sie auch einen Gummiabzieher nutzen. Verwenden Sie keine rauen Schwämme und keine lösemittelhaltigen Reinigungs- oder Scheuermittel.

Wie ist der Ablauf und wie lange dauert die Lieferung?
Nachdem Sie Ihre Küchenrückwand bestellt und bezahlt haben erstellt unsere Grafikabteilung Ihnen eine Vorabansicht des gewählten Motivs, zugeschnitten auf Ihre bestellten Maße und schickt Ihnen diese per E-Mail zu. Stimmen Motivausschnitt und Maße, bestätigen Sie uns diese. Im Anschluss wird Ihre Küchenrückwand in unserer Aachener Manufaktur gefertigt und verpackt. Die Produktionszeit liegt bei etwa 7 Arbeitstagen. Sobald Ihre Küchenrückwand versandbereit ist, erhalten Sie von uns per E-Mail einen Trackinglink zur Sendungsverfolgung. Der Versand dauert in der Regel 2-3 Arbeitstage.

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SKU: 30542808623

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4.5 ★★★★★
Based on 11 reviews
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J
JeFF Stumpo
Battle Creek, US
★★★★★ 5
A Feminist Divine Comedy?
Format: Paperback
Let me start with this: The Descent of Alette is difficult to read at first. Notley "puts quotation marks around" "groups of words" "in lines" "that can be off-putting." Note that I'm not quoting from the book there, just giving an example of what the book's text appears like. This forces us to read more slowly, taking in each line a few words at a time. What appears to be awkward is in fact a great solution to the speed-reading most of us do these days. That being said, it's troublesome for the first few poems, less so after that, virtually invisible by the end of the first section. When talking about this book, I immediately compare it to Dante's Divine Comedy, and I commonly see others do the same (see an earlier review here on Amazon.com). Exchange Hell for a subway, and you've basically got it: an underground realm ruled over by a Tyrant, poor souls being tortured, though in this case there is no indication that they have done anything to deserve it. Notley's language might not be quite as beautiful/harsh as Dante's, but her images stand with anything he created. After introducing two characters on a subway, a woman and her baby, both on fire, Notley writes: "another woman" "in uniform" "from above ground" "entered" "the train" "She was fireproof" "she wore gloves, & she" "took" "the baby" "took the baby" "away from the" "mother" "Extracted" "the burning baby" "From the fire" "they made together" "But the baby" "still burned" ("But not yours" "It didn't happen" "to you") "We don't know yet" "if it will" "stop burning," "said the uniformed" "woman" "The burning woman" "was crying" "she made a form" "in her mind" "an imaginary" "form" "to settle" "in her arms where" "the baby" "had been" "We saw her fiery arms" "cradle the air" "She cradled air" ("They take your children" "away" "if you"re on fire") "In the air that" "she cradled" "it seemed to us there" "floated" "a flower-like" "a red flower" "its petals" "curling flames" "She cradled" "seemed to cradle" "the burning flower of" "herself gone" "her life" ("She saw" "whatever she saw, but what we saw" "was that flower") After surviving the horrors of the subway, Alette goes even deeper underground, passing through a series of psychological challenges that at times seem straight out of Freud, at times out of Classical mythology, at times out of collective dreams. Throughout it all, we learn more and more about Alette, who is not just a "hero" who goes through the motions necessary to the plot, but who considers and stumbles and is confused and learns. The third section of the book is a rebirth, wherein Alette finds a source for a stronger power than the Tyrant's, and it is distinctly feminist in its nature. I need to note here for those who react to feminism in a knee-jerk way: Notley's feminism is not a militant feminism, though it requires brief "military" action on Alette's part. Men are helpful in the story, have purpose besides being the bad guy. If anything, what Notley attacks in the form of the Tyrant is the idea of a corrupt masculinity, a kind of Big Brother who would easily stand as an antagonist in any number of 20th/21st century literary works. Alette's feminism is the discovery of her place in the world, and that place is not slaving away mindlessly for the Tyrant, not acting as just a womb or pair of hands or pretty face. It's a nuanced message, despite the epic (and therefore presumably black-and-white) nature of the whole book. The fourth section is the showdown with the Tyrant, a great deal of philosophizing, and an ending that I actually find more satisfying than that of Paradiso. I won't spoil it here, but it just works extremely well in conjunction with the themes of Descent as a whole. If you want to be challenged, if you want to think deep thoughts, if you want surreality and magic, pick up The Descent of Alette. For even more interesting reading from the author and her partner, you could also turn to The Scarlet Cabinet, which contains but actually predates the on-its-own publication of Descent.
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Reviewed in the United States on October 11, 2010
K
Kent Shaw
Carnegie, US
★★★★★ 5
A Contemporary Epic
Format: Paperback
I have a complicated relationship with most of the books I've read by Alice Notley. I admire her facility with the lyric, her ability to get just beneath a concept or sentiment using a very talk-y style so that I always feel like I'm with whatever speaker she's using, inside that mind and her mind all at once. This is a good kind of complication. It's one I yearn for with poems. The unpleasant complications are when I feel as though I'm just being subjected to her unedited notebook entries. Too much, too much, too much. It comes up especially with her book Mysteries of Small Houses. I mention these difficulties only to sharpen the accomplishment of The Descent of Alette. Like other reviewers, I feel the tonal similarities to Dante's Inferno. Which becomes a subversive allusion considering Alette seeks after a male Tyrant in order to destroy him, while Dante sought after his Beatrice out of desire. But I read and reread Alette, because Notley continually subverts patriarchal conventions in the book. I actually find I crave the speaker's intellect, and the mythic logic that gives the book its arc. I want it more. Yes, there are quotations around each fragment in the poems. I actually appreciate them for slowing my reading down, and for sharpening my focus on the use of Notley's language. And it's not just a stylistic tic, or something to be endured. It could actually be described as further subversion of The Tyrant Alette pursues.
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Reviewed in the United States on August 25, 2011
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Raquel Wilbon
Natrona Heights, US
★★★★★ 2
Imagery and diction
Format: Paperback
This book was very challenging to read because everything was written in quotations however, it was intriguing as a different way of writing poetry.
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Reviewed in the United States on August 11, 2020
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amber a
Charlottesville, US
★★★★★ 5
I tend to leave most books in this genre disappointed. I miss the classics
Format: Hardcover
I bought this book after hearing Stacey Lee speak about narrative tension at a lecture for YA writers - the talk was specifically entitled, "How to keep them up all night." The lecture (alongside Anna Shinoda) bit off a rather large amount of material. Neither woman mentioned vampires. The methods they discussed were smart, creative, and delivered with just enough humor to leave me wondering whether I'd be able to put their debut novels down. I devoured GONE WITH THE WIND at least six times cover to cover between my sophomore and senior year. While I am more susceptible to the Historical Fiction page turner than the average girl, I tend to leave most books in this genre disappointed. I miss the classics. I opened this book determined to not judge it by its gorgeous pastel cover. I started slowly. I enjoyed the first four or five chapters - leaving each fully appreciative of Lee's craft. I particularly enjoyed her ability to pepper humor though tragedy. I often complain about writers who miss the mark here. Stacey Lee nailed that important believable balance for me. I liked her characters quickly. I left each chapter satisfied, but thoroughly able to get up and go on with my life. Like a jaded Thumper in Walt Disney's BAMBI, this book was more than nice, but I wasn't susceptible to any kind of teen-aged Twitterpation over it. After the sixth or seventh chapter - four or five days after I first picked it up, I quietly closed my copy, placed it on my nightstand, switched off my lamp, fluffed my pillow and turned over. I turned over again. I flipped on the light - OK, just one more chapter... I zombie sleepwalked to work the next day. That night I retired early, making some completely convincing excuse about being exhausted. I was certainly too tired to read. Flash forward to 6AM when I woke up with this novel on my face. I turned it's last page this afternoon, fully satisfied. I am truly sad it's over. This book transported me. It's one I'll want to have in my collection forever, alongside the beautiful books that mattered to me as a teen; JANE EYRE, TO KILL A MOCKINGBIRD, UNDER A PAINTED SKY. Classic in feel, subject matter, and voice - but modern in approach, I'd be as comfortable recommending it to my book club as I would handing it to any teen. Readers of all ages and walks of life will surely find something that resonates with their own stories too. As for me, I am sure I'll be back on the trail with these girls-- I mean boys, before long. Now I'm off to try my hand at Anna Shinoda's LEARNING NOT TO DROWN. Well, maybe tomorrow. I need a good night's sleep and it's clear these authors know how to keep those pages turning.
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Reviewed in the United States on August 24, 2015
R
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Ruth Franklin
Phoenix, US
★★★★★ 4
Good, Fun, Important Topics
Format: Paperback
Good, solid, read for ages 12+. Somewhat unrealistic and yet believable story of two strong young female characters traveling west disguised as boys. Couldn't stop reading it until I was finished with the book, and now my granddaughter is doing the same. This book has many relevant themes about race, gender, class, religion, and other stereotypes and is an excellent choice for a classroom or family read aloud. Get it.
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Reviewed in the United States on February 26, 2017

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