Note: Our Reference Chat and Email services are primarily for the students, faculty, and staff of the University of Louisiana at Lafayette. The department will assist the public if the question concerns the University or some unique resource of Edith Garland Dupré Library, such as Federal government publications.
At a time when the traditional sheltered workshop model has fallen under rightful criticism, and a new paradigm for disability programming is not yet in place, Upcycling Sheltered Workshops offers a revolutionary alternative. As many push to dismantle sheltered workshops, Susan Dlouhy and Patty Mitchell present the Creative Abundance Model, a proven method that redirects sheltered workshops from routine to creativity, putting participants in the driver's seat. The Creative Abundance Model does away with the repetitive tasks that characterize traditional workshops. Instead, it is a structured but more open program that incorporates art, music, and other creative pursuits, freeing participants to discover their individual skills and talents. The authors both advocate for the model and provide instructions for implementing it, outlining such steps as obtaining funding, gaining the support and participation of the surrounding community, and preparing studios. Case studies from around the nation and inspiring photographs illustrate Dlouhy and Mitchell's methods and document the many ways in which participants in Creative Abundance thrive.
A comprehensive reference of materials for interior designers and architects Choosing the right material for the right purpose is a critical--and often overlooked--aspect in the larger context of designing buildings and interior spaces. When specified and executed properly, materials support and enhance a project's overall theme, and infuse interior space with a solid foundation that balances visual poetry and functionality. Materiality and Interior Construction imparts essential knowledge on how materials contribute to the construction and fabrication of floors, partitions, ceilings, and millwork, with thorough coverage of the important characteristics and properties of building materials and finishes. Individual coverage of the key characteristics of each material explores the advantages and disadvantages of using specific materials and construction assemblies, while helping readers discover how to make every building element count. In addition, Materiality and Interior Construction: Is highly illustrated throughout to show material properties and building assemblies Supplies rankings and information on the "green" attributes of each material so that designers can make informed decisions for specifications Is organized by application for easy and quick access to information Includes a companion website, featuring an extensive online image bank of materials and assemblies Rather than a typical catalog of materials, Materiality and Interior Construction is efficiently organized so that the reader is guided directly to the options for the location or assembly they are considering. Reliable and easy to use, Materiality and Interior Construction is a one-stop, comprehensive reference for hundreds of commonly used materials and their integration as building components--and an invaluable resource that every interior designer or architect should add to their set of tools.
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson. nformed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.