Amir H Fallah

Title: Sheltered
Date: 2007
Info: Fort installed at "Under The Indigo " show at The Third Line gallery in Dubai, UAE. The fort was built onsite with found wood, scrap metal, recycled nails and paint found in the galleries surrounding neighborhood. Dimensions variable.

Amir H Fallah

Title: Sheltered
Date: 2007
Info: A 2 story fort/terrarium made of 90% recycled materials and including living plants for Rogue Wave 07' at L.A. Louver Gallery in Venice, CA. 2007. Painted camoflauge on the outside and flourescent hunting orange on the inside. Materials: Paint, found wood, plexi, soil, cacti and succulents, ceramic pots, and panties. 240 x96 x 80 inches

Refugee Housing

Artists: Suzan Wines and Azin Valy

Architects at I-Beam Design constructed a house for refugees made from wooden shipping pallets in a New York warehouse. Palettes are versatile, recyclable, sustainable, and easily assembled. Their transportation cost is negligible because they are used to carry shipments of clothing, food, and medical supplies to disaster areas.

Gateway

Preliminary documentation of my final show piece. Using pallet wood sourced from building sites and construction yards, i deconstructed them into individual planks to begin building. The connection to their original usage is clearly identifiable without them having to remain in their pallet-shaped forms, this provided a strong enough link to their source without each having to retain their shape.

Christo

Medieval Tower Wrapped in Plastic by Artist Sculptor Christo

Construction of Degree show Piece

After measuring the dimensions of the main tower, i laid the planks from the pallets i had collected to visualize the size of the structure. From here i began to build the skeletal frame of the piece. I was forced to construct the installation in segments so the pieces where more manageable and not too heavy for transport. this made my job a lot more work, but these requirements where necessary as i will have to deconstruct the piece for transport when it is exhibited in the london show, and by building it in pieces now it makes it easier to dismantle later.

Review of Kawamata's Reims Plan 4

The way in which Kawamata illustrates his concept for Reims Plan 4, is similar to the way in which i plan to construct the main tower for my final piece. How will i set out the planks, will they be horizontal or vertical? will they be fixed randomly together or will they be tightly fitted and arranged precisely?
How will i attach each plank, with tacks, nails or screws. will i secure each piece with wood glue to supply the structure with extra support? if so that would effect its ability to be easily deconstructed for transport.
Build the entire structure in pieces to allow for easy deconstruction and reconstruction, this way it makes each piece more manageable, easy to transport and adjust if necessary.
Will it be lighted, and if so how? with its own separate light source? why? what would this add/give to the piece?
Make it a functional, accessible structure that complies to health and safety regulations, allow spectators to enter and interact with the materials as i would have done during its construction.

Tadashi Kawamata

Title: Reims Plan 4
Artist: Tadashi Kawamata
Date: 2007
Materials: Plywood and balsa
Measurements: h: 50 x w: 60 x d: 30 cm / h: 19.7 x w: 23.6 x d: 11.8 in
Style: Contemporary

Tadashi Kawamata

Title: Cathedrale de Chaise
Artist: Tadashi Kawamata
Date: 2007
Materials: wood and paint on plywood
Measurements: h: 210 x w: 153 x d: 15 cm / h: 82.7 x w: 60.2 x d: 5.9 in
Style: Contemporary

Tadashi Kawamata

Title: Tree hut in Basel, Plan 2
Artist: Tadashi Kawamata
Date: 2007
Materials: plywood, balsa and acrylic
Measurements: h: 100 x w: 153 x d: 20 cm / h: 39.4 x w: 60.2 x d: 7.9 in
Style: Contemporary

Tadashi Kawamata

Title: Tree Hut in Tuileries 2
Artist: Tadashi Kawamata
Date: 2008
Materials: Plywood and balsa
Measurements: h: 150 x w: 100 x d: 100 cm / h: 59.1 x w: 39.4 x d: 39.4 in
Style: Contemporary

Mattias Adolfsson

Combining more than one raw material in the same piece, something i don't do in my practice, why?
The reason for me me not incorporating more than one material into the same piece is simple, i react to the materials available to me, and in most cases there has been only one type of resource in place for me to use, or one particular dominant resource. It just so happens that when constructing a non permanent structure, i feel using individual materials rather than a grouping of materials works better both for the piece aesthetically and my current practice.