.

CATAWBA COUNTY
FIRE MARSHAL’S
OFFICE
Guidelines For Tents,
Canopies and Membrane
Structures used during
Special Events
GUIDE SHEET

INFO FOR CUSTOMER SUCCESS March 2006
1. Tents, Canopies or Membrane Structures. For events located in the Catawba County Fire
Marshal’s jurisdiction the following requirements apply:
[ ] 1.1 Permits when required.
1.1.1 Tent or Membrane Structures - A permit must first be obtained before erecting or using
a tent or membrane structure having an area in excess of 200 square feet.
1.1.2 Canopy - A permit must first be obtained before erecting or using a canopy in excess of
400 square feet.
1.1.3 If a Fire Code permit is required relating to tent or canopy construction, application shall
be submitted to the Catawba County Permit Center located in the Catawba County Government
Center.
[ ] 1.2 Stability. Provide documentation to the Building Services Department that the structural
stability of tents, canopies and their appurtenances will be adequately roped, braced and anchored
to withstand the elements of wind, weather and prevent against collapse.
[ ] 1.3 Tent & Canopy Fabric. Fabric must be flame resistant and a certificate executed by an
approved testing laboratory verifying one of the following:
1.3.1 Fabric is composed of flame resistance material.
1.3.2 Fabric has been treated with a flame retardant in an approved manner and meets the
requirements for flame resistance in accordance with NFPA 701 and that the flame resistance is
effective for the period specified by the permit.
[ ] 1.4 Labeling. Tents & canopies shall have a permanently affixed label bearing the identification
of the size and fabric or material type. Provide an affidavit or affirmation that attests to the
following:
1.4.1 Date the fabric was last treated with flame-resistant solution.
1.4.2 Trade name or kind of chemical used in treatment.
1.4.3 Name of person or firm treating the material.
1.4.4 Name of testing agency and test standard by which the fabric was tested.
[ ] 1.5 Cooking Tents.

1.5.1 Tents where cooking is performed shall be separated from other tents, canopies, and
membrane structures by a minimum of 20 feet regardless of permit requirements.
1.5.2 Outdoor cooking that produce sparks or grease-laden vapors shall not be permitted
within 20 feet from a tent, canopy, or membrane structure.
1.5.3 Public is not allowed within a tent, canopy, or membrane structure during cooking
operations unless approved by code enforcement official.
1.5.4 All approved cooking tents shall provide a minimum of one Class K Fire extinguisher
for every 50 feet of travel distance. The extinguisher shall be fully charged.

 1.6 Open Cooking. Open flame or other cooking device is not permitted inside or located within
20 feet while open to the public unless approved by the fire official.
[ ] 1.7 Placement. Tents, canopies, membrane structures must not be located within 20 feet of lot
lines, buildings, other membrane structures, other tents, and canopies, parked vehicles or internal
combustion engines (generators). Support ropes and guy wires are considered as part of the tent,
canopy, and membrane structure. Please contact the fire marshal to identify any alternate methods
for compliance.
[ ] 1.8 Fire Extinguisher. All tents requiring a Fire Code Permit shall provide a minimum of one 10
lb. ABC type multi-purpose fire extinguisher for every fifty feet of travel distance to an extinguisher.
All other tents shall provide one 10 lb. ABC type multi-purpose fire extinguisher.
[ ] 1.9 Combustibles. Combustible materials such as hay, straw, shavings shall not be located
within any tent or canopy or below stands or bleachers at any time. The areas within and adjacent
to tents shall be maintained clear of all combustible materials or vegetation that could create a fire
hazard within and 20 feet from the structure. All combustible trash shall be removed at least once a
day from the structure while occupied by the public.

The log cabin is as much an image as it is a building. It evokes thoughts of maple syrup and the American frontier. It is an important setting in the stories of real and fictional people such as Abraham Lincoln, Daniel Boone, and Uncle Tom. Perhaps because of this, people give the log cabin a status no other type of house enjoys. Demolitions of 200-year-old houses suddenly stop when logs are discovered. The reality is more complex than the popular image of the log cabin in a small clearing. Log houses range from crude huts to fancy plantation houses. City houses, churches, jails, and courthouses were also built of logs. This essay addresses the complexities of the log cabin through a focus on the earliest log houses in Kentucky, and serves as an introduction to the origins, construction, forms, finish, and furnishing of log houses in the frontier and early statehood period, about 1770-1800.

Sources for the Study of Early Log Houses in Kentucky

Very few of the earliest log houses in Kentucky survive. The log houses we see now tend to be the best built ones, and those of later dates. Because house builders had long careers, and house types change slowly over time, later log buildings do offer us some information about the earlier houses. We can also learn more from archaeological investigations. Finally, we have documentary sources such as letters, drawings, contracts, and memoirs. A lot of research remains to be done, but with current knowledge, we do have some pretty clear ideas about the early log house.

The Origins of the Log House on the Kentucky Frontier

By the middle of the eighteenth century, the lack of available land in the colonies prompted people to look West towards territory occupied by Native Americans. Explorers began entering Kentucky in the 1750’s, and by the late 1770’s, European Americans, and to some extent, African Americans began moving to the area in large numbers. These colonists brought their ideas of what a house should be. These ideas varied depending on their backgrounds. In a similar way, the immigrants who colonized America in the seventeenth century brought house concepts from their countries of origin with them to the New World. However, house types had already changed in the colonies as people adapted to their new surroundings. Swedes, Finns, Germans, and other Continental Europeans brought over log building technology. The English, who didn’t build in log at home, quickly adopted the technique. Log building was well established by the time homesteaders began migrating to Kentucky in the 1770’s-1790’s, and was most common in Pennsylvania, Maryland, Virginia, and the Carolinas, the source regions of most of Kentucky’s pioneers.

When they first arrived, most homesteaders kept their shelter expectations low. Establishing a farmstead on the frontier required a carefully planned and executed strategy. Building a fancy house was rarely the first thing they did. After arriving, preferably in the early spring, the pioneers began work to “improve” their land. The first task was to cut down trees, both to clear land and provide building materials. They chopped down the trees with axes (a vital tool) or girdled them (cutting a ring through the bark to kill the tree). Then there were fences to put up, fields to plow and plant, domestic animals to raise, and a house to build and furnish. The first dwelling on a site was often a simple lean-to or hut of stacked logs that could be partially dug into a hillside, or built quickly with a post-in-the-ground frame (figure 1a). Some of these structures may have been covered with bark or animal skins, taking cues from Native American dwellings. Homesteaders used such lean-tos for short periods while surveying or clearing land and building a better cabin. After they built a more substantial cabin, the old shelter could be dismantled or kept for an animal pen or storage shed.

What little we do know about the early temporary structures comes from brief descriptions in documentary records. These shelters are similar to those the first colonists built when they landed in coastal areas a century and a half earlier. William Sudduth, interviewed in the 1840’s, remembered two such structures. The first “was a cabbin raised & covered at Maysville without either being chinked, daubed, or a fire place in it,” where the family stayed for a short time at their point of entry into Kentucky. This was probably much like the log cabin in figure 1b. The second building Sudduth describes is the “camp,” a lean-to structure typical of first shelters on a homestead, which he says was “about 8 feet wide and 10 feet deep, covered over with puncheons & built up on three sides with logs.” This was similar to the lean-to shown in (figure 1a). Puncheons are thick, hand-split and unfinished boards.

 

Settlers usually built a single-pen log cabin for their first shelter after a lean-to. This would be one square or rectangular box (figure 1b) of stacked logs with a gable roof. Pens could be square or rectangular, and could range in size from 12 feet square to 20 x 24 feet. It typically had no weatherboarding or window glass, but may have had a stick and mud chimney. The poorest quality ones would have round logs and a dirt floor, with no fireplace like Sudduth’s cabin in Maysville. The pioneers could build such rough cabins themselves with a few simple tools. They lived in such cabins for the first year or two. As soon as possible, the homesteaders built a more substantial structure with hewn logs and a wood floor, such as the cabin shown in figure 2. This house could be improved in the coming years through additions of siding, windows, interior plaster, and enlargements such as a porch, lean-to, ell, (ells are rear additions perpendicular to the main building) or the attachment of another pen. The first crude log cabin could be retained as an attached or freestanding kitchen, slave house, laundry, barn, smoke house, or a workshop.

The popular image of the settler building a house with an ax and no nails probably has its origins in the crude first cabins. The typical house, however, required the labors of a professional builder, and possibly a mason as well. These builders used an extensive array of tools, and manufactured articles such as nails, glass, hardware, and bricks. Period records of professional builders are scant, but we know that pioneers set up varying professional trades as soon as possible. Builders looking for work saw the fast-growing frontier as a land of opportunity, as did the farmers looking for quality land. The best evidence of the building profession is in the buildings themselves. The average farmer did not have the skills or the tools needed to make window sash, join a mantle, dovetail corner joints, or frame a staircase. So he turned to the skills of carpenters and masons, paying in several forms of currency or cash equivalents (such as tobacco or whiskey) or even bartering for their services. The farmer, his family, and slaves all could contribute labor to the project of building a house, but the builder took responsibility for its design and construction.

In many cases, the first professionally built house was also replaced once again after some time by a more substantial dwelling, preferably one of frame or masonry construction. The first house could be incorporated into the new house, or left freestanding for use as an outbuilding or slave house. In some cases, it was demolished for building materials. Where very early log houses do survive to the present, they are usually enclosed within the later additions of a larger house or even a barn.

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Guidance: Labeling for Cosmetics Containing Alpha Hydroxy Acids

January 10, 2005
Guidance for Industry
Labeling for Topically Applied Cosmetic Products Containing Alpha Hydroxy Acids as Ingredients

Additional copies are available from:
Office of Cosmetics and Colors, HFS-100
Center for Food Safety and Applied Nutrition
Food and Drug Administration
5100 Paint Branch Parkway
College Park, MD 20740
(Tel) 301-436-1130
http://www.cfsan.fda.gov/guidance.html

U.S. Department of Health and Human Services
Food and Drug Administration
Center for Food Safety and Applied Nutrition (CFSAN)
January 2005
Cosmetics Labeling
Table Of Contents

   1. Introduction
   2. AHAs in Cosmetic Products
   3. Citizen Petition from the Cosmetic, Toiletry, and Fragrance Association
   4. Safety Reviews of AHAs
   5. "Sunburn Alert" AHA Labeling Statement
   6. Function of "Sunburn Alert" AHA Labeling Statement
   7. Requested Restriction of CTFA's Alert Statement to Exfoliant Use
   8. Use Conditions for "Sunburn Alert" AHA Labeling Statement
   9. Statutory Basis
  10. Significance of Guidance
  11. Electronic Access
  12. References

Guidance for Industry(1)
Labeling for Topically Applied Cosmetic Products Containing Alpha Hydroxy Acids as Ingredients
This guidance represents the Food and Drug Administration's (FDA's) current thinking on this topic. It does not create or confer any rights for or on any person and does not operate to bind FDA or the public. You can use an alternative approach if the approach satisfies the requirements of the applicable statutes and regulations. If you want to discuss an alternative approach, contact the FDA staff responsible for implementing this guidance. If you cannot identify the appropriate FDA staff, call the appropriate telephone number listed on the title page of this guidance.

 
I. Introduction

FDA has considered evidence that suggests that topically applied cosmetic products containing alpha hydroxy acids (AHAs) as ingredients may increase the sensitivity of skin to the sun while the products are used and for up to a week after use is stopped, and that this increased skin sensitivity to the sun may increase the possibility of sunburn. The purpose of this guidance is to educate consumers about the potential for increased skin sensitivity to the sun from the topical use of cosmetics containing AHAs as ingredients and to educate manufacturers to help ensure that their labeling for cosmetic products containing AHAs as ingredients is not false or misleading. As an interim measure, while FDA continues to review the data on AHAs to address the potential for this increased skin sensitivity to the sun, FDA is recommending that the labeling of a cosmetic product that contains an AHA as an ingredient and that is topically applied to the skin or mucous membrane bear a statement that conveys the following information. The information in the AHA labeling statement is consistent with FDA's current thinking on sun protection.

    Sunburn Alert: This product contains an alpha hydroxy acid (AHA) that may increase your skin's sensitivity to the sun and particularly the possibility of sunburn. Use a sunscreen, wear protective clothing, and limit sun exposure while using this product and for a week afterwards.

Alpha hydroxy acids are organic acids with a hydroxyl group on the carbon adjacent to the carboxylic acid group. The predominant AHAs present in cosmetic products are glycolic acid and lactic acid. Other AHAs used in cosmetic products include citric acid, ?-hydroxyoctanoic acid, and  hydroxydecanoic acid (Reference 1).

Starting in 1994, the Cosmetic, Toiletry, and Fragrance Association's Cosmetic Ingredient Review Expert Panel, FDA's AHA Review Committee, and FDA reviewed the safety of topically applied AHAs in cosmetic products (References 2 through 4). The reviewers evaluated human clinical studies that investigated the effects of ultraviolet (UV) radiation on the skin after exposure to AHAs. The studies demonstrated that topically applied AHAs increase skin sensitivity to UV radiation during application and that this increased skin sensitivity to UV radiation diminishes after discontinuing application for a week.

Sensitivity to UV radiation is the main reason for the skin's sensitivity to the sun (Reference 5). Short-term exposure to the sun may cause sunburn and chronic long-term exposure to the sun may increase risk of premature skin aging (Reference 5). Experimental and epidemiological studies have demonstrated that prolonged exposure to the UV radiation in sunlight is a primary risk factor for certain types of skin cancer (References 6 through 8).

The human clinical studies reviewed by the Cosmetic Ingredient Review Expert Panel, FDA's AHA Review Committee, and FDA provided data for the effects of UV radiation on the skin after short-term (up to 12 weeks) topical exposure to AHAs. The evidence from the clinical studies suggests that increased skin sensitivity to UV radiation may increase the possibility of sunburn for consumers. Adverse experience reports by consumers of increased sunburn after AHA use support this conclusion (Reference 2). The increased skin sensitivity to UV radiation also may result in other harmful effects to the skin, but the data currently available to FDA's Center for Food Safety and Applied Nutrition (CFSAN) are still inconclusive on this point at this time.

This guidance applies to cosmetic products that contain an AHA as an ingredient and that are intended for topical application to the skin or mucous membrane. Most AHAs used as cosmetic ingredients are formulated into products that are intended for topical application to the skin or mucous membrane.

Certain products may not be intended for topical application of AHAs to parts of the skin or mucous membrane that are exposed to the sun, but such application may be unintentional (e.g., shampoos, deodorants). This guidance also applies to cosmetic products that contain an AHA as an ingredient and that are intended for application to areas of the body that may result in unintentional topical application to the skin or mucous membrane that are exposed to the sun.

However, AHAs can be present in cosmetic products that are applied to areas of the body that are not sun exposed (e.g., mouthwashes, breath fresheners, and douches). This guidance does not apply to cosmetic products that contain an AHA as an ingredient and that are intended for application to non-sun exposed areas of the body.

AHAs can be present in products that also are labeled to contain a sunscreen. This guidance does not apply to drug-cosmetic products that contain an AHA as an ingredient and also are labeled to contain a sunscreen for sun protection. FDA intends to address labeling for such products in a future document.

AHAs can be present in cosmetic products as incidental ingredients. As defined in section 701.3(l) of the Code of Federal Regulations (21 CFR 701.3(l)), incidental ingredients are ingredients that are present in a cosmetic at insignificant levels and that have no technical or functional effect in the cosmetic. Incidental ingredients are not required to be declared in the ingredient lists on the labels of cosmetic packages. This guidance does not apply to cosmetic products that contain an AHA as an incidental ingredient.

FDA's guidance documents, including this guidance, do not establish legally enforceable responsibilities. Instead, guidances describe the agency's current thinking on a topic and should be viewed only as recommendations, unless specific regulatory or statutory requirements are cited. The use of the word should in agency guidances means that something is suggested or recommended, but not required.

America Supports You: Artist Brightens Day at Naval Hospital

By Samantha L. Quigley
American Forces Press Service

WASHINGTON, Oct. 21, 2005 – A well-known artist visiting the nation's capital for the dedication of the "Extra Mile" monument celebrating volunteers went an extra mile himself last week.



Thomas Kinkade -- known as the "Painter of Light" for his depictions of light-filled buildings -- and his wife, Nanette, visited with nine servicemembers recovering from injuries at the National Naval Medical Center, in Bethesda, Md. The United Service Organizations helped arrange the visit and accompanied the Kinkades.

"It was the highlight of our trip. We visited with nine (servicemembers), and the stories we heard were amazing," the artist said.

While talking with the servicemembers, Kinkade told American Forces Press Service in a telephone interview, he met a Marine who had received a Thomas Kinkade pocket watch from his mother. Though the guys in his unit gave him good-natured grief for his use of the rather old-fashioned timepiece, it was the first thing they looked for after their Humvee was hit by an improvised explosive device.

"The driver lost control and ... (the Marine) was ejected from the Humvee. It literally rolled over him and rolled into the canal. The backpack he was wearing got ejected off his back and went into the canal," he said. "Once he shook off the dust and looked around, he saw his guys jumping up off the ground and jumping into the canal, trying to get his backpack."

They never did find that keepsake, but Kinkade has made arrangements to replace it for the Marine, who suffered a broken hip in the incident.

After visiting the injured servicemembers, Kinkade said their desire to return to their units inspired him to continue what he's doing to try to bring some joy to servicemembers.

"I have a vision, as yet unrealized, that I want to find a way to send a miniature copy of 'Heading Home' to every soldier serving overseas," he said. "We can take this painting and send it as a gift from an artist who has not been there physically, but I'm with those guys in spirit."

A piece of that spirit will now hang in the reception area at the Bethesda facility, as Kinkade donated a copy of "Heading Home" to the medical center. The painting depicts an American servicemember walking into an "ethereal" background, he said.

The nondescript background is not the result of a lack of inspiration, the artist explained. Years ago, Kinkade painted a piece called "Coming Home," which depicted a soldier coming home for Christmas.

"I took the same soldier from that painting and recreated him in a setting much more ethereal so that it wasn't a specific home because people come home to all sorts of homes," he said. "You see the soldier walking into the field of mist, and ... it could ... suggest the homecoming of soldiers who pay the ultimate price overseas or it could be the soldier who is coming home to a future -- his future -- which is always a mystery."

Kinkade said he developed a great reverence for servicemembers early on. His father was in the Army during World War II and never lost touch with the men in his unit. It was this bond that drove the artist to reach out to servicemembers.

"As an artist, I've always thought there might be a way to link whatever talents God had given me to the armed services to provide inspiration and help to those who serve," he said.

His painting "Heading Home" has done that. He has a stack of letters as testimony that his art has been sent far and wide to servicemembers as reminders from loved ones that they will be coming home. That show of support from back home is crucial, he said. Americans' support of the troops reaffirms the validity of their fight for freedom, he said.

"Peace and safety go hand in hand. The joy of living is the joy of freedom. Without freedom, there is no joy in life," he said. "I paint a world free from war, free from terrorism, free from fear and hatred and anger. The world I paint, I think it's very affirming of the beliefs of people in this country and of the servicepeople who are overseas waging a war to protect those beliefs."

"The Extra Mile -- Points of Light Volunteer Pathway" is a new monument dedicated to the spirit of service in America, according to the monument's Web site. A series of bronze medallions forming a one-mile walking path honors the heroes of volunteerism. The monument is just blocks from the White House.

1501:31-33-01 Wetlands habitat stamp regulations.

(A) The chief of the division of wildlife shall annually establish an Ohio wetlands habitat stamp design contest procedure for the purpose of conducting a contest to select a design to appear as the wetlands habitat stamp issued by the division of wildlife beginning in August of the following year. The contest procedure shall include but not be limited to:

(1) Participant eligibility;

(2) Participant entry fee;

(3) Entry procedure;

(4) Design specifications, to include subject matter, size, cover and mat;

(5) Submission procedure including submission deadline;

(6) Selection of judges;

(7) Judging procedure.

(B) The chief of the division of wildlife shall annually enter into an agreement with the artist who submits the design determined to be the winning entry in the Ohio wetlands habitat stamp design contest for that year. The agreement shall include but not be limited to provisions that define and determine the following:

(1) Production of the wetlands habitat stamp;

(2) Reproduction of the original design as art prints;

(3) Distribution of any copies or prints of the original design;

(4) Purchase of stamps to be distributed with prints of the original art;

(5) Artist income from print sales;

(6) Accounting of funds; and

(7) Performance bond by the winning artist.

Eff 6-1-82; 6-1-84; 4-17-89; Expires: Not until amended or rescinded

Rule promulgated under: RC Chapter 119.

Rule amplifies: RC 1533.112

119.032 Review Date: 9-24-02; 9-24-07

Wildlife Research Using GPS Tracking

Since GPS telemetry for wildlife is relatively new, most studies have involved testing the reliability and accuracy of the equipment in varying environments and applications. Performance of various GPS collars have been tested for moose (Rempel et al. 1995; Moen et al. 1996; Rodgers et al. 1996; Dussault et al. 1999), white-tailed deer (Merrill et al. 1998; Bowman et al. 2000), and wolves (Merrill et al. 1998; Merrill and Mech 2000; Merrill 2002). The collars have functioned well, especially the most recent versions, which can be placed on an animal when it is most easily captured and can be programmed to begin duty cycling some months later (Nelson and Mech submitted).

No doubt, tests of GPS technology for wildlife will continue since new products are still rapidly forthcoming. For example, recent weight decreases have made remote-data-downloading GPS collars available for use on wolf-sized animals. Furthermore, with the establishment of baseline accuracies and statistically appropriate research applications, along with increased awareness of the potential for highly accurate data, increasing numbers of studies using GPS telemetry can be expected. Also, the cost should eventually decline to a more affordable level. Improvements such as these will hasten the use of GPS for a greater range of species.

FOR IMMEDIATE RELEASE
NYS MUSEUM PLANS FAMILY FUN WEEKEND FOR MAY 5- 6

Albany, New York -- 04/26/07

ALBANY, NY – Joan Steiner’s “Look-Alikes’’ will be the theme of the New York State

Museum’s next Family Fun Weekend May 5 and 6.

     Family Fun Weekend, presented by Fidelis Care, takes place from 1- 4 p.m. both

days. Activities, which are free of charge, are held mostly in Bird Hall, on the Museum’s

first floor.

      The program coincides with the opening on Saturday, May 5 of Steiner’s new

exhibition at the State Museum – Look-Alikes: The Amazing World of Joan Steiner. A

Hudson artist, Steiner uses everyday objects to create three-dimensional dioramas in

which the objects themselves become hidden. Her books “Look-Alikes’’ invite readers to

locate the familiar items -- a pretzel, coin or zipper -- from within the scenes she creates

of a park, ice cream shop or zoo. Adults and children often find that the search becomes

habit forming.

     At 1 p.m. Saturday, Steiner will present a 30-minute slide show in South Hall and

will be available to greet visitors after that. At 2 p.m. Saturday Lou Pollack, a
-more-

-2-

designer-illustrator from Bearsville, will talk and demonstrate how to make a picture

book. Children will be able to make their own book to take home.

     Throughout the day on Sunday artists represented by “The Bad as Art Gallery,’’ based

in Albany, will present an interactive illustration workshop. The gallery promotes fair

trade sales of fine art crafts, created by artists from 28 second and third-world countries.

Albany-area artists who will participate in Sunday’s program include Dave Geurin, Heidi

Weinman, Lisa McLain, Stephen Mead and Marcus K. Anderson.

     Throughout the afternoon on Saturday and Sunday, visitors will be able to make their

own “Look-Alike” picture collage by choosing from hundreds of pictures from

magazines. They can also make a craft straight from Steiner’s “Look-Alike’’ bookS,

use lollipops and “Bugle” snacks to create an elf and participate in a “Look-Alike”

scavenger hunt and win a prize. Family Fun activity packets also will be distributed.

     Family Fun Weekends, presented by Fidelis Care, offer theme-based family activities,

on the first weekend of the month.

     The New York State Museum, established in 1836, is a program of the New York

State Education Department. Located at the Empire State Plaza on Madison Avenue in

Albany, the Museum is open daily from 9:30 a.m. to 5 p.m. except on Thanksgiving and

Christmas. Admission is free and the Museum is fully accessible.

Low Ambient with Task Lighting,
including occupant control of ambient
lights
 Study looked at preferred cubicle lighting levels using a
dimmable overhead lighting, under cabinet lighting and
portable LED task lighting
 Hypothesis is that when occupants have control of the
overhead lighting levels and have access to efficient task
lighting, overall lighting levels will be reduced
 Key findings
– Overall lighting levels reduced by 5 to 19%
– Distribution of light is critical to satisfaction levels
 Further work required to focus on task lighting criteria that will
allow for lower ambient lighting levels and increased
satisfaction levels

Mexico International Furniture Market (Expo Mueble Guadalajara)

The Mexico International Furniture Market will be held in Guadalajara, Mexico, February 9 – 12, 2011. With over 50,000 square meters of exhibition space, the market showcases more than 500 exhibitors and their products. More than 10,000 international buyers attend the market, providing excellent international exposure to wholesale furniture manufacturers.

Great kitchen hutches for display and storage anywhere. Try them in the kitchen or on the porch! Have fun decorating with these hutches!