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July 24th, 25th, 26th 2009 - Indietracks, an indiepop festival - Midland Railway Butterley, Swanwick Junction
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Slickenside.—A specific type of ped surface feature consisting of a shiny, commonly striated and/or grooved slip face surface caused by the movement of one ped surface past another. The soil movement is a result of soil swelling after wetting and the subsequent stress-induced shear failure. If there are sand grains present in the otherwise clayey matrix, they may create striations as the surfaces slip past one another. Slickensides are a diagnostic feature used as a criterion for the Vertisols order as well as Vertic subgroups in Soil Taxonomy. Soil profile descriptions use the horizon suffix symbol “ss” to indicate the presence of slickensides (e.g., Bss). Slickensides are considered to be pedogenic when associated with soil peds or features, such as wedges or bowls in Vertisols. The term “slickenside” is also used in a geogenic context when associated with tectonic or mass movement features, such as faults or slump blocks.
Figure 104.—Soil profile and lower Bkss horizon of a Houston Black soil (fine, smectitic, thermic Udic Haplustert). The Houston Black series consists of very deep, moderately well drained, very slowly permeable soils with high shrink-swell potential that formed in clayey residuum derived from calcareous mudstone of Cretaceous Age. Depth to slickensides is from 33 to 61 cm. See Linear extensibility.
Specific Design Assessment
-Signs are posted at various scales
-Signs are posted at alley entrances
-Business signs are oriented towards pedestrian traffic through the alley
-Signs to public amenities, such as restrooms, are clearly marked
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
20.25A.160.D.4.d - Accentuate and enhance access to the through-block pedestrian connection from the right-of-way by use of multiple points of entry that identify it as a public space
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 1216 L 2, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4085½ Kohinoor" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Zircon" refers to a type of colored glass that Heisey made - in this case, greenish.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Zircon: 1936-1939. A turquoise blue-green. The last color introduced before World War II curtailed the use of color. Revamped and reintroduced later as Limelight.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
(HGM 4406 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"325 Pillows" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Rose bowl" refers to a container for water and floating rose petals - this produces an pleasant scent.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
Aus der Serie „Sommerfrische“. 2015
Site-specific Performance und Intervention
Hotel Panhans Semmering
Performance, Fotografie und Installation
Performance: Andrea Nagl & Markus Wintersberger
Fotografie: Andrea Nagl & Markus Wintersberger
Nagl ~ Wintersberger 2015
July 24th, 25th, 26th 2009 - Indietracks, an indiepop festival - Midland Railway Butterley, Swanwick Junction
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Created - Winter 2014
2PM-6PM They were effected by daylight and any fake light that occurred when dark.
-From left to right-
Laying flat on decking in direct sunlight
Laying flat on a bench under shade
Laying flat on paving in changing shade
Hung up on a fence with a peg in direct sunlight
Laying flat on grass in direct sunlight.
These are the final five pieces from my experimental idea that I mentioned in my personal statement.
The idea was to cover the whole garden to capture a span of time in which natural forces would effected the paper. However I didn't have the means to cover my whole garden so I scaled back and captured five places that were very different.
The final pieces depended on chance, I liked the limited control on the series as it made me eager to see the end works.
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
Foursight Theatre and Blank Country Touring present Apna Ghar, a site-specific piece of theatre performed in Wolverhampton 2006. Photo by Dave Finchett.
swing usb drivePromo Crunch and their USB custom specific site www.usbcustomflash.com work with promotional products distributors to create and design some of the ad specialty industries most recognizable custom PVC flash drives.
We provide educational material such as:
1) A how to build a custom flash drive guide. www.promocrunch.com/bob/h2custom.jpg
2) Explanation of why flash drive prices change promocrunch.com/bob/why.jpg
3) The how’s and whys of Preloads www.usbcustomflash.com/ploads.html
4) How to sell Custom USB flash drives www.promocrunch.com/bob/h2sellfd.pdf
5) Plus informative YouTube videos. www.youtube.com/watch?v=1mzSj1bUXQs
USB custom pvc flash drives are one of www.promocrunch.com strategic expertise’s.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 203 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1429 Pristine" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
2023 La Delice Pastry Shop and Candy Store Easter Chocolate Display specific on 3rd Avenue and 27th Street Kips Bay New York City - 04/08/2023 April NYC - Mystery Magic Chef outside mannequin Superchef Comicbook super hero comic book comics standee Halloween stand up store stores popup Bake Bakery Easter candy store entrance Pop n Fresh Mannequins dummy wax sculpture standees butler domestic hat uniform chocolate Mysterious
“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
.
Democratising Science School functioning: .
School-specific issues.
Transparency in lab allotment, evaluation particularly.
in 98 cases, timely procurement of chemicals, books 555.
and disbursal of fellowships has to be ensured. .
.
Allotment process of Supervisors should be democratised. .
Resisting arbitrary hostel rules and allotment The existing programme of North-East Studies be.
policies, administrative high-handedness, and an strengthened and developed as full-fledged centre in.
emerging culture of moral policing and surveillance by SSS..
the JNU Administration. .
.
The proposal for a gender module which will be mandatorilyintroduced in various schools and centres has been.
Ensuring democracy and transparency 1n setting up.
of the path-breaking JNU Press. discussed in BoS meetings, and this process has to.
be taken to its logical conclusion..
.
Expanding student representation in the AC/ .
Provision of issuing and photocopying be allowed in centre/.
BoS, removal of undemocratic grade point criteria .
DSA/SAP libraries..
and representation of Equal Opportunity Office inthe Academic Council. The entrance exam dates for the M.Phil. Courses berationally fixed for allowing students to exercise all.
The crucial struggle against the Lyngdoh Committee options at least in related fields..
recommendations and restoration of JNUSU .
Amount of field work assistance g1ven by centres like.
constitution has to be carried forward. the national .
CHS and CSMCH should be increased..
.
platform on the issue, formed in July 2012, has to be The platform of 'SSS Debates.
strengthened. ' was revived during the lastyear; more engaging debates and talks on academic.
The Faculty recruitment which has started last year .
and contemporary issues have to be organised..
must strictly follow norms of reservations. We demand .
.
A common reading room has to allotted in the new SSS.
that OBC reservation should be implemented at .
building which will open soon.
ALL levels of faculty appointment. .
The toilets in SSS building be urgently renovated,.
Ensuring and defending mandatory wages and rights .
maintained and cleanliness ensured..
of the workers on campus. .
.
5LL&CS.
Refor·estation and Revitalization of the Environment Monitoring and redressal o'f high drop-out rates..
Task Force .
The use of students' names in answer books shouldResisting Patriarchal Commonsense and be stopped, and rather only registration numbers ofDefending GSCASH students should be mentioned to avoid possiblediscrimination. Moreover, regular and timely feed-back.
During the past year. AISA and the JNU .
of mid-term evaluations should be provided to students..
student community has played a leading .
Retrograde step of Detinking B.A./M.A. programme mustrole in the spirited movement against .
be reversed..
sexuaI violence, rape culture, victim .
.
Ensuring regular functioning of the Career Counselfing .
blaming and the all pervasive patriarchal and Placement Bureau..
common sense. A gruesome incident that Speedy recruitment of permanent faculty and end thehappened right in our campus on 31st rising trend of large-scale ad-hoc faculty.July this year only underlines the need to strengthen and Expansion of Centre for Indian Languages (CIL) to include.
intensify our battle for gender justice. other modern Indian Languages. Introduction of diplomain other foreign languages like Italian, Portuguese,.
GSCASH is one of the most important institutions in our Greek & Hebrew..
campus, and implementation of GSCASH verdicts in .
Ensuring Proper Sanitation: Hygienic conditions in thesexual harassment complaints, without delay or dilution, .
bathrooms of various centres/schools and generalhas to be ensured, especially in several recent cases relating .
cleanliness has to be ensured..
to people in positions ofpower and influence. suc/1 as faculty .
In SLL&CS too, the student-teacher relationship has tomembers. GSCASH infrastructure must be improved to .
be democratized. Instances of teachers denigratingensure its confidentiality and effic1ency. A systematic: .
students based on their backgrounds. intimidatingthoroughgoing process of gender sensitisation and students and even trying to impose 'd ress codes' and discussion has to be put in place in order to address the moral policing have been noted in SLL&CS. pervasive patriarchal common sense in our campus and Introduction of M.A. in Translation in all centers of I society. An important step in this direction was initiated SLL&CS, such as Arabic, Spanish, Persian & Russian. .
Centre based selection process for award of foreign.
in July 2012 when JNUSU and GSCASH together .
scholarships be made transparent and bias free..
organised the mandatory orientation .
Allotment of common/reading room in the new SL buildingprogrammes. These initiatives have to be regularised, and .
SIS.
compulsory lecture modules for sensitisation on gender Ensuring democratic teacher-student relationship, ending.
issues have to be put in pia ce. harassment and victimisation of research scholarsinvolvement of EOO, creating forums for dialogue and' accountability, regular and timely election for SFCs. .
I .
.
Site specific installtion projected onto a 6ft screen in a darken studio during the opening of the new C4C Cetl building at York St John University.
The specific geometric window tracery and leafy patterns shown in your photo were designed and fabricated by the Kent Bloomer Studio in collaboration with Cesar Pelli. Kent Bloomer is well known for architectural sculpture and ornamentation that integrates natural motifs with modern structural metals.
The unpainted aluminum screens serve as both art and functional window tracery along the terminal's expansive glass walls. They are engineered to filter and softly diffuse direct sunlight, casting shifting patterns of light and shadow across the concourses while helping to comfort and entertain travelers. For practical maintenance, the individual panels are also designed on hinged frames so they can swing out to facilitate cleaning the glass behind them.
The terminal building and its architectural art installations opened in 1997 (specifically on July 27, 1997, when Terminal B/C at Ronald Reagan Washington National Airport opened to the public).