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The detachment of wall paintings involves the removal of a wall painting from the structure of which it formed part. While detachment was once a common practice, the preservation of art in situ is now preferred, and detachment is now largely restricted to cases where the only alternative is total loss. [ 1 ]
Gypsum waste from new construction activities is typically a clean waste, and primarily consists of off-cuts of plasterboard (drywall, wallboard or gyprock) when the boards have been cut to fit the dimensions of the wall or ceiling. The waste may constitute 15% of the gypsum materials used on the site.
Some commentators, such as Donn Zaretsky of The Art Law Blog critique the notion of "the public trust" and argue that deaccessioning rules should probably be thrown out altogether. [15] Others, such as Susan Taylor, director of the New Orleans Museum of Art and the AAMD's current president, believes that proceeds from the sale or funds from the ...
In use as early as 1900, rock lath (also known as "button board," "plaster board" or "gypsum-board lath"), is a type of gypsum wall board (essentially an early form of drywall) with holes spaced regularly to provide a 'key' for wet plaster. [3] Rock lath was typically produced in sheets sized 2 by 4 feet (610 by 1,220 mm).
At the place where the two edges of wallboards meet there is a seam. These seams are covered with mesh tape and then the seams and the screw heads are concealed with the drywall compound to make the wall seem as one uniform piece. The drywall plaster is a thick paste. Later this is painted or wallpapered over to hide the work.
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