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Office Design
/by Pratik Mehta
The walls: - the walls of this structure are all curvy lines as the concept and them of this design is a mesh. There are no coloums in this structure as there are a few walls that i have made that are load bearing and they are thick and strong enough to hold the ceiling and support the ergonomics.
The entrance: - the office has three entrances one is the main entrance and 2 other entrances are for the workers and the materials. The entrance of my office is a glass door which give a kind of welcoming feeling to the visitors as the minute the walk out of the lift the feel connected to the office.
The ceiling: - there is no false ceiling in my plan as i wanted it to be till the slab and give a very rough and industrial look. The idea of having a false ceiling spoils the charm of the structure as the taller the ceiling the more smart and classy it looks.
The furniture: - most of the furniture in the office is made of wood and mdf and plus. The furniture is very minimal. And can be used in many ways. There is very little furniture in the office in fact you can say that there is just enough for the requirement. Some of it is ready made and some of it is custom made.
The floor: - the floor in the office is made out of Italian marble and carpet. The carpet is used in the recreation area as its more of a chill out place so i though it would add to the informal mood.
The light: - there is quite good an amount of natural light as the entire main facade of the building is made of glass and thus allows a lot of natural light to penetrate into the office. but the few interiors of the place where there is no sufficient enough of natural light then its the lights that are available in the market that come to help. There is 60% of artificial lighting in the office.
Colour scheme: - the colour scheme that I have used in the office is monochromatic. The walls are grey and the floor is white. The furniture is mainly brown and shades of brown.
Lecturer T2009_3: Georg JAHNSEN
Iraq/Afghanistan section of Arlington National Cemetery
"Flags In" for Memorial Day - “Flags In” has been conducted annually since the 3rd U.S. Infantry Regiment (The Old Guard) was designated as the Army’s official ceremonial unit in 1948. Soldiers from the 3rd U.S. Infantry Regiment (The Old Guard) were joined by service members from the U.S. Marine Corps Ceremonial and Guard Company, U.S. Navy Ceremonial Guard, U.S. Air Force Honor Guard and the U.S. Coast Guard Ceremonial Honor Guard in placing small American flags, known as grave decorating flags, on the gravesites of all who rest at Arlington National Cemetery for the Memorial Day weekend.
Memorial Day 2010
Section 46 and the USS Maine as seen from the Memorial Amphitheater at Arlington National Cemetery, Arlington, Virginia, Sept. 16, 2020. by Elizabeth Fraser / Arlington National Cemetery / released)
3.1.14 - Thank you to all who attended Bay Section 2014 and congratulations to everybody that placed! Thank you for the hard work that you invested in studying/practicing for your competition and we hope to see you at States! Remember, there are competitions that you can sign up that start at states (a ride to states)!
Most importantly, please give a big round of applause for Diana Kruzman and Gopika Hari, the competition officers that made the success of our chapter possible!
Last but not least, don't forget to congratulate Stephanie Shi for being elected as the Public Relations Bay Sections Officer for the upcoming 2014-15 year! SHI will definitely do a wonderful job at progressing not only our chapter, but the bay section as a whole! Additionally, great job to the deserving Jeremy Xue for his outstanding speech!
P.S. A long umbrella was found in the bleachers after awards ceremony. If it belongs to you, please pick it up in Mr. St. John's room on Monday!
23. Section 10 Donkey Wood (Hatton Cross) to Hayes & Harlington - 7.5km
A section of the memorial commissioned by Sir Roger Aston, barber - surgeon to King James I, shortly before his death. Made in alabaster by William Cure II, master mason to King James I, for £180
Cockpit sections kept after a busy time for airframe reclamation at St Athan DGX/EGSY on 05-06-21
1. TC-SBIBoeing 737-8AS(WL) 29920 (Seyit Onabasi name)
2. Sun Express 737 (27981?)
3. UR-COJ Airbus A321-112 765
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8. G-EUOC Airbus A319-131 1537
Lasalle School of Arts - Singapore
HDA : Courtyard fabric roof and facades Specalist Consultants Facades and central court roof designer
Client : SIA Lasalle
Architect: RSP Architects Planners & Engineers
Date : 2004-2006
See more at : www.hda-paris.com/
Section of a window in the north aisle of Holy Trinity church, Cambridge. This depicts Paul driving an unclean spirit out of a young woman (Acts of the Apostles chapter 16, verses 16-18) He got into considerable difficulty about this...
Cross-section of an onion, used as part of exam work. simple set up indoors. I used the purple onions for the contrast in colour and to bring out the texture and pattern of the onion.
The Wistarion, Pg. 11, 1923, Archives & Special Collections, Hunter College Libraries, Hunter College of the City University of New York, New York City.
For more information:
library.hunter.cuny.edu/about/archives
MARSYAS/MYSELF
MYSELF Diptych detail, four views of the head
Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:
"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."
STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."
Collection:
Crocker Art Museum
Sacramento, California
A selection of slides from various sources depicting the many vehicles used, and abused, by the MRS since 1943
CLIMAVORE asks how our food security is affected in times of increasingly virulent climate change. The annual cycle of spring, summer, fall and winter is already beginning to erode, growing seasons are becoming longer in some places and shorter elsewhere, extreme weather events are increasing,
soils are leaching and rivers are flushing (plastic) waste and toxins into the oceans on a daily basis. CLIMAVORE seeks to address the consequences of this trend and adapt our food production
and food consumption to this new reality. In Scotland, for example, CLIMAVORE is working on alternative aquacultures. A specially developed platform serves as a tide table: At high tide, the
platform is submerged and the mussels and algae attached to it enrich the seawater with oxygen; at low tide, the construction comes to the surface and is transformed into a dining table for people.
In collaboration with teachers and chefs, cooking classes are offered at the local high school and partner restaurants, and, together with marine biologists, community planting of seaweed and
mussels is encouraged. Additionally, a production facility for manufacturing tiles from oyster and mussel shells is operated in cooperation with stonemasons. CLIMAVORE also conducts other
prototype projects in Italy, Sweden, Turkey, the Alps, and Lake Erie.
Cooking Sections, Salmon: A Red Herring. Installation at Tate Britain, London, 2021.
Photo: Cooking Sections.
(Left to right)
Rear support, Seat support, rear wall of instrument panel and the forward support for the instrument panel. I spayed with PS Interior green, shaded with Tamiya Yellow Green XF-4 and Flat Brown XF-10. No added wash yet.
Each link is 3/8" long, 5/16" wide and a 1/16" space. I need a total of 80 of these to complete both tracks.
I'm also building some spare tracks to hang on the sides.
The key concept was to help the Mennonite congregation branch out to the surrounding neighborhood with the design of a new church. The building acts as a filter between the functions of the church and how they are spread throughout the site.
1/2" section model
This segment will fit in between Frankford TC & Margaret-Orthodox stations. This section is 100' long, there is a missing set of columns in the middle. (It is actually 50' between column segments). I skipped this step right now to do a quick mock-up. The gussets are actually triangles cut from old used up gift cards. (finally found a use for them!). They are not prototypical but I felt better having them based on the train's weight. The live load of the moving train is very high since this is a real metal train!