Carpet Tile Installation Methods

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carpet tile installation methods - Installations By

Installations By Architects: Experiments in Building and Design

Installations By Architects: Experiments in Building and Design

Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives.

The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.

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Installation View, Basehouse: A Meditation/ Playplace for Cubby 2005 - 2010

Installation View, Basehouse: A Meditation/ Playplace for Cubby 2005 - 2010

Basehouse: A Meditation/ Playplace for Cubby.
Who is cubby and why is he meditating and/ or playing in this space? To further understand these things you must first grab hold of Cubby’s remote control. Walk slowly and carefully through his mazelike world. Look closely at all of his visual ramblings. Turn his world on and off using his remote. Sit where he sat while he thought about the world around him and while he did “other” things. Create a rhythm with the lights and sounds using the remote as he did and become part of this work of art yourself. Just as the artist David Pollack did when he created the character named Cubby.

By turning the camera on himself, and selecting the photographic Genre of self-portraiture, David Pollack is attempting to create a canon of works consisting of probing, surprising, and thoughtful images. Although, the majority of his photographs are pictures of him, however, these photographs are most definitely not self-portraits. Rather, Pollack uses himself as a vehicle for commentary on a variety of issues of the modern world. Pollack employs acting, in particular method acting, to create characters and lifestyles in which these characters choose to exist. He employs concepts of method acting to create characters, such as Cubby. He lives his life completely immersed in these characters lifestyles for years before building his installations ands then finally photographing himself as these characters. His final artworks are stunning full scale installation, sculpture and photography as seen here in Basehouse: A Meditation/ Playplace for Cubby.

This work of Immersion art is performed by Chase Alias and photographed by David Pollack. Immersion Artistist David Pollack spends years developing his characters. The development of these two characters happened over a period of 7 years. Cubby's Basehouse and then Chase Alias' Craigslist are David's newest series of works.

Immersion Art, Method Acting s a phrase that loosely refers to a family of techniques by which actors try to create in themselves the thoughts and emotions of their characters in an effort to develop lifelike performances. It can be contrasted with more classical forms of acting, in which actors simulate thoughts and emotions of their character through external means, such as vocal intonation or facial expression without psychological involvement on their playing role. Though not all Method actors use the same approach, the "method" in Method acting usually refers to the practice, advocated by Lee Strasberg, by which actors draw upon their own emotions and memories in their portrayals, aided by a set of exercises and practices including sense memory and affective memory.

Affective memory, also known as emotional memory, is an element of Stanislavski's ‘system’ and of Method Acting, two related approaches to acting. Affective memory requires actors to call on personal memories of situations similar (or more recently a situation with similar emotional import) to those of their characters. Stanislavski believed actors needed to take emotion and personality to the stage and call upon it when playing their character. He also explored the use of objectives, the physical body's effect on emotions, and empathizing with the character.

"Emotional recall" is the basis for Lee Strasberg's Method Acting. "Sense memory" is used to refer to the recall of physical sensations surrounding emotional events (instead of the emotions themselves). The use of affective memory remains a controversial topic in acting theory. (Wikipedia 2010)

We The People exhibit installation 1975

We The People exhibit installation 1975

We The People: A Bicentennial Exhibition of the American People and their Government opened at the Museum of History and Technology (now the National Museum of American History) June 4, 1975. The 20,000 square foot exhibition found its three-part interpretive theme in the United States Constitution--Of, By and For the People.

After a display of American symbols featuring Lady Liberty, Columbia, Uncle Sam, and the eagle-and-shield, visitors found their way around the escalators and into the body of the exhibit with the help of a large, wall-mounted finger reminiscent of poster artist James Montgomery Flagg's Uncle Sam.

Section one, Of the People, featured a short film about the U.S. Census, and a selection of state gifts displayed behind glass as works of art.

Section two, By the People, dramatized the methods of community organization and political campaigning (reusing the log cabin and papier-mache figures from the Hall of Historic Americans). An extensive array of presidential campaign memorabilia ringed a display of ballots and ballot boxes. A dramatization of the right to petition used the steps of the U.S. Capitol as a setting for social and economic protest.

Section three, For the People, took up the themes of western expansion and exploration, defense and diplomacy, education and the arts, science and technology, and conserving the environment.

After a long run We The People was dismantled in 1995.

Division of Political History collection
SI #80-19180-11A

carpet tile installation methods

carpet tile installation methods

Electrical Installations of the United States Navy: A Manual of the Latest Approved Material, Including Its Use, Operation, Inspection, Care and Management and Method of Installation On Board Ship

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

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