The artists heart in throat, head in hands; tongue in knots, heart on sleeve was crafted specifically for the Belltown gallery.

A kindergarten-aged Elisabeth Higgins OConnor doodled a yellow blob with an orange triangle on a white piece of paper approximately 45 years ago. Her classmates crowded around her, adoring the little duckling.

More than four decades later, Higgins OConnor said something about that moment changed her. It helped spark her development as an artist. Over the years, her work got bigger and started incorporating different materials. Now the Sacramento, Calif., resident has her biggest work yet on display at Seattles Suyama Space, where her installation heart in throat, head in hands; tongue in knots, heart on sleeve is on view until April 25.

The show includes nine animallike works composed of found materials including bedding from thrift stores and cardboard from boxes behind stores. Higgins OConnnor uses the materials to explore aspects of frustration, joy and tragedy through their storytelling abilities.

Through April 25, Suyama Space, 2324 Second Ave., Seattle; free (suyamaspace.org).

I believe that materials have a language, like a poetic language that can be interpreted so these materials have a history, a resonance, Higgins OConnor said. Theyve been touched and handled and had other lives before their life with me.

Higgins OConnor uses large swatches of fabric in hopes that a familiar pattern can strike a chord with a viewer. Because she finds her materials in thrift stores, its possible that someone looking at the brown strip of fabric with white cherry blossoms at Suyama Space once owned the same fabric in their own house before Higgins OConnor laid it on top of a donkey falling down a set of stairs.

The 51-year-old artist, who earned her Bachelor of Fine Arts from Cal State Long Beach, thinks of each strip of fabric or piece of cardboard she places on the wooden armatures of her structures as strokes of a paint brush or marks with a charcoal pencil. After layering on materials, Higgins OConnor secures her work with drywall screws.

Theres so much in the process of making them, its almost like when I talk about how theyre made, its like where sausage comes from, Higgins OConnor said.

She began working on her installation in August at her studio in Sacramento. In late December, she loaded all of her pieces, none of which had been completely assembled yet, in a truck to bring to Seattle. In the final three weeks before the exhibition opened on Jan. 19, Higgins OConnor completed her work by attaching all the pieces together.

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Elisabeth Higgins OConnor fills Suyama Space with large-scale sculptures

USG BUILDS Logix Integrated Ceiling System

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Decoustics Continuous Linear Wood Ceiling Installation

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Architect Elizabeth Diller, dressed mostly in sober New York black, hard hat in hand, stood on the Grand Avenue sidewalk Friday morning in front of the Broad museum, which she designed with her New York firm, Diller Scofidio + Renfro, and is set to open Sept. 20.

Was she giving an architectural preview? Doing damage control? Trying to regain some influence over the narrative of the museums construction, which has been beset by delays, fabrication problems and legal wrangling?

The answer seemed to be some combination of the three. Diller, more jovial than defensive, was joined on the tour by Joanne Heyler, the director of the Broad museum, but it was the architect who said she had helped initiate the plan to open the nearly finished museum to some journalists Friday and then to ticketed members of the general public on Sunday.

MORE: Christopher Hawthorne's early Broad museum tour -- the tweets

In certain ways the advance look, seven months before the Broads official debut, was reminiscent of a decision by Michael Govan, the director of the Los Angeles County Museum of Art, to give private tours of Renzo Pianos Resnick Pavilion when that building was also nearly finished in 2010.

Govan installed a large piece by Walter de Maria, "The 2000 Sculpture," inside the Resnick, allowing collectors, board members and critics a chance to see the building as a single, open gallery space before interior walls were installed.

The situation at the Broad is similar. Construction on the $140-million museums column-free top-floor gallery, covering 35,000 square feet (compared with 45,000 at the Resnick), is almost finished. Much of its concrete floor has been polished to a high sheen.

At the same time, the movable walls that will go up before the opening exhibition is installed, dividing the space (but stopping well short of the 23-foot ceiling), have yet to go up.

In other respects, the Broad case is a unique one, especially given the degree to which its construction has been plagued by delays (and with those delayed chronicled and picked apart by the media).

When the exterior scaffolding was removed from the building a few weeks ago, the reaction on social media and elsewhere was not good: People seemed let down that the facade they were now seeing in the flesh didnt live up to the promise of earlier digital renderings.

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An in-progress look at the Broad museum

Construction workers with A&A The Art of Destruction walk under the newly exposed balcony area after removing part of the false ceiling on the east side of the Reilly Arts Center, the old City Auditorium, Thursday afternoon September 25, 2014. The rest of the renovations to the building to accommodate the Ocala Symphony Orchestra will not be done until the symphony raises more funds.

The tempo of the Reilly Arts Center project has just accelerated from andante to allegro.

The construction funds are in place, the plans have been approved, the permits have been pulled, and the work begins Monday on converting the former City Auditorium at Tuscawilla Park into the Reilly Arts Center, the long-awaited home of the Ocala Symphony Orchestra.

We always believed this day would come but, now that its here, its even more exciting than we thought it could be because its a collaboration of the community and some people who had a dream. That dream is real. Its real now, said Cindy Van Heyde, the symphonys president.

If all goes as planned, the music will begin in October.

Van Heyde said that, preliminarily, the thought is to have the opening the third weekend in October.

And, there will be 736 seats for patrons, more than the 665 originally contemplated. Van Heyde said the final calculations showed more seating space was available.

We have been assured every seat is going to be very comfortable, Van Heyde said. We are not squeezing them in.

Like the music itself, the Arts Centers design will be a mixture of classical and contemporary.

The 1930s art deco facade and the original steel bow trusses, crowning what will be a completely renovated seating section 40 feet below, will be preserved. Those two distinctive retro architectural features will be enhanced with the installation of cutting-edge acoustics and a high-quality multimedia system.

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A musical conversion: Work on orchestra's new home to begin

Survivors of typhoon Yolanda from Samar and Leyte continue to get back on their feet and show that they can be an inspiration to the world.

While assistance from different countries and organizations across the globe came in as soon as the world witnessed the disaster, kababayans still continue to help until today.

True to its commitment of providing a sustainable future for Filipinos, James Hardie quickly engaged in the rehabilitation efforts after Yolanda.

Acknowledging the importance of education in rebuilding the lives of Yolanda survivors, James Hardie partnered with De La Salle Philippines to create maximum, positive change in some of the most badly hit communities, prioritizing the rebuilding of schools.

When our team, together with De La Salle Philippines, visited the site, we saw that there was a lot of work to be done, James Hardie Philippines country manager Mark Sergio said. Almost everything had to be rebuilt from the ground up. But this did not discourage us. In fact, it strengthened our resolve.

In an initiative called Rebuilding the Future, DLSP identified and adopted communities that were badly damaged by the typhoon. James Hardie came in to provide assistance in the rebuilding efforts in partnership with DLSP.

James Hardie and DLSP both wanted to provide safer and sturdier schools for the children in those communities. This was achieved by conducting ceiling installation workshops for carpenters involved in the rebuilding of the schools.

James Hardie will continue the series of workshops to help locals in their rebuilding efforts and to upgrade the skills of carpenters in Samar and Leyte. We helped by giving the locals carpentry workshops and by providing HardieFlex products for the schools, Sergio said. It is important to us that the people feel that they personally contributed to their communitys recovery.

In rebuilding the schools, James Hardie and DLSP put in mind how their efforts can help children and their families move on from the trauma of the past. We, in De La Salle Philippines, are thankful that James Hardie partnered with us because we were able to help more people, DLSP president Bro. Jose Mari Jimenez said. It is also of utmost importance that our classrooms are conducive to learning and are made with durable building products such as HardieFlex.

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Schools rebuilt in storm-hit areas

ROCHESTER, N.Y.

I am a twister.

I make balloon animals, doesnt cut it, you see. Right now youre picturing dinky dogs and flowers and swords that youve seen at kids parties and carnivals.

Picture this instead: 40,000 balloons, mimicking the texture of wood on a sinking ship, the gnarled tangle of coral, the whirling tentacles of squid and the flashing fins of fish of all species. Picture balloons of every color and shape, stretching from floor to ceiling, five stories tall.

Thats what twisters can do.

A crew of about 60 twisters assembled here for four days last week. The resulting massive sculpture, known as Balloon Manor, is now on display as public art. You can see it in the Sibley Tower Building in downtown Rochester.

For a few more days, that is. Soon, it will be time to pop the whole thing.

But dont think about that. For now, just gaze at the astounding profusion of balloons.

Under the direction of balloon artists Larry Moss and Kelly Cheatle, a crew of balloon twisters built a five-story underwater scene in four days in Rochester, N.Y. (Airigami)

That coral reef is made of a few hundred pink heart-shaped balloons, twisted together four at a time and then tied together with uninflated balloons. Those two masts on the ship started as 420 individual six-inch-long balloons, tied end-to-end in circles of five and stacked about two stories high. Each tentacle of that gargantuan octopus is a complex braided strand of nine balloon threads, each one as thick as my arm.

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From thin air, 40,000 balloons add up to one giant public art installation

Drywall Suspension System Installation Time Trial

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Manhattan Plaza Health Club. Stretch Ceiling Installation.
http://NYCeiling.com/ http://www.facebook.com/Stretch.Ceilings.Design We sell this kind of ceilings and wall coverings world wide as well as LED lighting for...

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CEILING INSTALLATION INSTRUCTIONS TOOLS & SUPPLIES: Hammer 1" Common Nails with Head Tin Snips Chalk Line Tape Measure Gloves Note: Caution Should be Used. Metal Edges are Very Sharp INSTRUCTIONS:

1. Using sawhorses and heavy planking, erect scaffolding in the room.

2. To begin, nail furring strips to the ceiling around the perimeter of the room. Distance from the wall depends on size of cornice.

4 & 5. Snap a chalk line on the center of the furring strip in the center of the room. (overlap sheets towards the door, underlap sheets moving away from the door; this is so the seam faces the back.) Align the edge of the sheet with the chalk line and attach the sheet using 1-inch common nail at 6-inch intervals where they overlap and 1-foot intervals down the center. Angle the nails for greater strength and drive them in beside the nipples on the metal sheet; the nipples will be reserved for nailing the seam of the overlapping sheet. The installer should support the metal sheets with furring strip; just to help hold it up while nailing.

7 & 8. Use metal shears to cut irregular-shaped pieces and holes for light fixtures.

9. Position the trimmed sheets with the cut side next to the wall, where it will be hidden by the cornices.

11. Nail the cornices to the furring strips at 12-inch intervals along the bottom edge and 6-inch intervals along the top edge. Join the cornices with miter joints, nicking the edges at regular intervals and bending them back to make a tighter seam. Close the seams by tapping with the head of a nail.

12. Paint the finished ceiling with an oil base paint (water-base paint rusts the metal.) Liquid Solder is a good way to close any gaps when joining the corners with the cornice.

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easy to install - Tin Ceilings by The Tinman : Chelsea ...