View allAll Photos Tagged BuildingMaterial
This series complements my recently published guidebook, Milwaukee in Stone and Clay: A Guide to the Cream City's Architectural Geology. Henceforth I'll just call it MSC.
The MSC section and page references for the building featured here: 5.40; pp. 113-116.
Looking northward.
Photographs in tourist brochures and promotional websites rarely show the Quadracci Pavilion from this angle, with its brise soleil tucked in.
In this case, however, I'm glad it is. This perspective, longitudinal with respect to the east-west Pavilion but not with respect to the entire north--south-oriented Museum, allows us to admire designer Santiago Calatrava's ingenious bracing system and its cable stays that run from the pedestrian bridge over Lincoln Memorial Drive to the daringly raked mast and then down to the roof. It gives this old sailor a warmhearted feeling to see rigging that's so shipshape and Bristol fashion.
The Quadracci's exterior is mostly a story of two geologically derived materials, steel and concrete. The latter of these is discussed in Part 7 of this series, our first look at this building's interior.
As far as the steel goes, it's an alloy of iron and carbon that may also contain other elements, depending on its exact use and formulation. Nowadays much of the world's iron supply is derived from Banded Iron Formation deposits of Archean or Paleoproterozoic age.
One thing I've learned in my explorations of the Pavilion is how essential its bridge is to the overall design. Visitors miss a lot if they do not enter the building by crossing it from East Wisconsin Avenue, which in itself is an architectural and geological via mirabilis. The narrow, rock-floored span not only offers a superb view of the city's lakeshore and skyline; it also serves as the one and proper entryway to the magical kingdom of the soaring, chambered interior.
And, as we'll see in the next post of this set, the stone type the bridge is paved with has quite a story of its own, and one that is directly connected to the Badger State's once-great quarrying industry.
But even that is not the end of the Quadracci's geologic significance. For there's the matter of what this amazing structure is sitting on, and in.
Milwaukee's downtown, like the Chicago Loop, is underlain by a layer cake of fluviatile and glacial sediments made all the more waterlogged and squashy by their proximity to Lake Michigan and the rivers that locally feed into it. But the Pavilion's perch right on the modern shore features what must be the most saturated sediments of all.
The normal way for Cream City architects to stabilize buildings in such yielding glop has been to provide a foundation resting on a multitude of piles—first conifer trunks resembling modern telephone poles, and then steel beams. Alternatively, they've sometimes used a method pioneered in Chicago, an anchoring system of concrete-filled shafts called caissons.
Here, however, a shallow raft foundation was employed instead. This method, consisting of a concrete pad that covers most of its building's footprint, had been tried in the Windy City back in the late 1800s, with disastrous results. But various advances in engineering and technology have made this the best solution for this challenging site. Or so I'm told.
Incidentally, the Quadracci Pavilion is not the only twenty-first-century Milwaukee landmark that sits secure on a shallowly set base. Just to the west across the drive, the elegant Northwestern Mutual Tower rises skyward from its own raft foundation.
This site and many others in Milwaukee County are discussed at greater length in Milwaukee in Stone and Clay (NIU Imprint of Cornell University Press).
The other photos and discussions in this series can be found in my "Milwaukee in Stone and Clay" Companion album. Also, while you're at it, check out my Architectural Geology of Milwaukee album, too. It contains quite a few photos and descriptions of Cream City sites highlighted in other series of mine.
London Design Festival 2019 - Bamboo (竹) Ring: Weaving into Lightness
“Bamboo (竹) Ring, or ‘Take-wa 竹わ’, is an experiment in the concept of weaving, as explored by Kengo Kuma.
Japanese architect Kuma (founder of Kengo Kuma & Associates) has most recently designed the V&A Dundee, his first building in the UK, as well as the New National Stadium for the Tokyo 2020 Olympics along with Taisei Corporation and Azusa Sekkei.
Inspired by the John Madejski Garden and curated by Clare Farrow, the doughnut-shaped structure – like a nest or cocoon – has been created by weaving rings of bamboo and carbon fibre together. For Kuma, working with Ejiri Structural Engineers and the Kengo Kuma Laboratory at The University of Tokyo, the installation is an exploration of pliancy, precision, lightness and strength: by pulling two ends, it naturally de-forms and half of the woven structure is lifted into the air.
Bamboo has been used traditionally in Japanese architecture in part due to its linearity and flexibility, and as a symbol of strength and rapid growth. The basic component of the structure – a 2m-diameter ring – is made from strips of the bamboo Phyllostachys edulis. By combining carbon fibre, a contemporary material, with the traditional material of bamboo and laminating each ring, the resulting effect achieves a certain rigidity while maintaining the unique material properties and beauty of bamboo – a remarkable, sustainable material that resonates with Kuma’s childhood memories and looks into the future of architecture.
Bamboo (竹) Ring, or ‘Take-wa 竹わ’, is intended to be a catalyst for weaving people and place together.
In Partnership with OPPO.
Further Support by Komatsu Matere, ANA (All Nippon Airways), and Jayhawk Fine Art.
Design Team (Kuma Lab): Kengo Kuma, Toshiki Hirano, Kohyoh Yang, Hiroki Awaji, Tomohisa Kawase
Fabrication Team at Komatsu Matere premises in Japan: Alexander Mladenov, Cristina Mordeglia, Luciana Tenorio, Simone Parola, Sarah Wellesley, Valentin Rodriguez de las Cuevas”
All text Copyright of www.londondesignfestival.com
One section of the lintel that is the grandly decorated inscription-holder hovering over the bank's main, northeastern entrance. For a view of the entire lintel, see Part 8 of this set; for the whole facade, see Part 7.
With all due respect to the heraldic lion at top, which brandishes a shield emblazoned with "F AND M," the organic power of this vertical axis is primarily invested in its stretching tendrils of what I take to be rather abstractified acanthus leaves. Though I'm not sure that they're any more fanciful than those found in Classical or Renaissance buildings. Still, in architect Louis Sullivan's vision of plant anatomy there's often a certain dreamlike aspect where less fully developed forms effortless merge with more finely divided ones.
This particular design evokes those in Sullivan's A System of Natural Ornament, published in 1924, the year of his death. However, it is not identical to any one of them.
Of course, it is one thing for an architect to sketch the intended terra-cotta design in two dimensions and quite another for a modeler to faithfully realize its three-dimensional potential in clay. And the exquisite detail of each modular unit had to be molded at exactly the right size to fit all the others after it and they experienced shrinkage during the firing process.
Here, as in so many of Sullivan's projects, the crucial role of modeler was given, at the architect's insistence, to the supremely skilled sculptor Kristian Schneider, of the American Terra Cotta Company. The Norwegian-born Schneider was just one of many talented emigre artisans employed by this firm.
The American plant was located in what is now part of the town of Crystal Lake, Illinois, There, on its grounds, was an abundant supply of base material obtained from late-Pleistocene Lemont Formation glacial till. However, special "ball clays" were also imported from England for the glazing compounds.
The other photos and descriptions of this series can be found in my Geology & Botany of the Sullivan Jewel Boxes album.
© All images Copyright Luke Zeme Photography. Contact for license usage.
Indigo Slam is a privately owned gallery and residence for an art collector in the heart of Sydney and it was conceived and built by
architects: Smart Design Studio Architect: William Smart
This composition shows some details on the front facade. The project was completed in 2016 but when I was there photographing it yesterday there was still a lot of construction going on inside along with plastic sheeting covering the roof. Perhaps a refurb? Is Indigo Slam being gutted already? :P I was chatting to my architecture friend (who will remain nameless) about this building and his comments were that the building is an oppressive structure. I really love to see it’s interiors so I could understand how it’s exterior relates to the spaces within. I did art school at uni majoring in painting, drawing and photography… Conceptually the building is fantastic and has references to constructivism and abstraction, but I think a lot of the shapes and curves on the interiors are clever ways to shape the light entering the building. One of the architects said that the light also changes from season to season in Indigo Slam which would be fascinating to see.
.
.
.
I am a professional photographer specialising in architecture, residential, commercial and aerial. To discuss any photographic projects please DM me or contact me through my official portfolio here, thank you. www.zeme.photography
Follow my instagram accounts-
My Landscapes, Seascapes and all things great! - luke zeme's main Instagram acc
My Commercial, Architectural and other work photographs! -
luke zeme's Commercial Instagram acc
------------------------------------------------------------------------------------------
Software and Presets I personally use in my photography
Lightroom replacement(alternative) software - Luminar! Use code "lukezeme" for a 15% discount -Skylum's Luminar Link
Preset collections, Photography tutorials and loads more , USE code "lukezemephotography" for 10% discount - Preset collections, Photography tutorials Link
Best HDR software on the market - Use code "lukezeme" for a 15% discount! - Skylum's Aurora HDR 2019 Link
Topaz has an incredible Photoshop Plugins collection + Studio for anything you can think of - Topaz Labs Link
The BEST Time Lapse software on the market. This software makes creating incredible Time Lapse videos easy for anyone - LRTimeLapse5 Link
On1 has been delivering amazing photography software for a long time, check out their Suite and plugins here - On1 Software Link
Get Adobe Photoshop & Lightroom on the Photography Plan, a cheaper option for photographers :-) - Adobe Photography Plan Link
My 50 best Lightroom presets in 1 pack, including 10x HDR presets - Get Adobe Photoshop & Lightroom on the Photography Plan, a cheaper option for photographers :-) - Luke Zeme's Premium Preset Collection Link
Sell your own prints online with a Zenfolio online print shop, this is how I sell my prints online - Sell your own prins online Link
Easily build a website with WIX, they have beautiful templates that make the whole process a breeze - Build your own website with WIX Link
------------------------------------------------------------------------------------------
Built by Matt Vaughn, Spring 2021
This base is welded from steel concrete form stakes and other rod. It is topped with a beautiful piece of Padauk.
Built by Tim O'Donnell, Summer 2021
This apothecary cabinet was made from a salvaged automotive parts cabinet. It has new drawers, made with salvaged trim scraps and a welded steel frame.
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
From Information provided by Kew Gardens:
"Opened on International Biodiversity Day 2008, the Treetop Walkway stands in the Arboretum, between the Temperate House and the lake. It was designed by Marks Barfield Architects, who also designed the London Eye. The 18-metre high, 200-metre walkway enables visitors to walk around the crowns of lime, sweet chestnut and oak trees. Supported by rusted steel columns that blend in with the natural environment, it provides opportunities for inspecting birds, insects, lichen and fungi at close quarters, as well as seeing blossom emerging and seed pods bursting open in spring. The walkway’s structure is based on a Fibonacci numerical sequence, which is often present in nature’s growth patterns."
From the Guardian Newspaper 12 June 2016:
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree.
It is designed by BIG, or Bjarke Ingels Group, a name that cleverly combines the initials of its 41-year-old founder and leader with the alternative custom of choosing names that carry some sort of meaning (OMA, the late lamented FAT, muf, Assemble). The latter is supposed to deflect attention away from individuals towards something more general: “BIG” is universal and personal at once, none too subtle in its meaning and statement of ambition and has the added attraction that the original Danish practice can call its website big.dk.
The name encapsulates Ingels’s genius, which is to combine the avant-garde trappings of an OMA with a happy-to-be-trashy flagrancy, an embrace of the values of marketing, a celebration of ego. “What I like about architecture,” he says, “is that it is literally the science of turning your fantasy into reality.” His approach has earned BIG the mistrust, awe and envy of fellow professionals, the adulation of many students and a 300-strong practice with offices in Copenhagen, New York and, as revealed in an announcement coinciding with the Serpentine launch, London.
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree."
Original article at: www.theguardian.com/artanddesign/2016/jun/12/serpentine-p...
Copyright © 2013 by Ian J MacDonald. Permission required for any use. All rights reserved
Design idea No. 1
Eros and Psyche sculpture garden under elm trees.
The idea comes from motifs I have seen on antique door hardware on old houses. These pieces try to catch the feel of gardening and Buffalo's urban neighborhoods. The use of the floral motifs and the rectangular shape relate it back to the old Victorian, Art Deco and Art Nouveau hardware that is so common in even the most humble homes in Buffalo. Although this particular piece directly portrays an urban neighborhood I have tried incorporate the spirit of these wonderful designs and imagery into art rather than copy.
At the end of the 1800s considerable amounts of talent were employed to research ancient art and use it to adorn Victorian era hardware. I am always amazed by this since these items are so often overlooked by most people. The lock companies such as Corbin and Yale engaged in an arms race of sort to make their hardware more ornate and interesting and employed artists and historians to advise and design this wonderful hardware. They based the designs on ancient Egyptian, Roman, Arabic, Asian and other societies' art. The research is echoed in names like "Third Empire" hardware. Eventually these companies notices that contractors bought what was cheap rather than what was beautiful (couldn't be truer today) and so these lines of hardware were discontinues. Unfortunately I have not found any references citing who these people or the carvers and pattern makers that created this art. I believe they are artists but are unfortunately lost to time.
You can see examples of hardware motifs here. www.flickr.com/photos/ianmacdonald/sets/72157625027747314...
A red Silverado belonging to Tom W. carries one hundred treated landscape timbers in one trip using a black DiamondBack SE.
Two old lime kilns from 1858 in Rudniki. Kilns has similar design and there are 26 metres tall. Another type of kiln in Rębielice Królewskie:
www.flickr.com/photos/145729545@N04/29485076213/
Dwa wapienniki jako świadectwo gospodarczego wykorzystania wapienia z Jury Krakowsko - Częstochowskiej. Wapienniki, wybudowane w 1858 roku posiadają niemal identyczną konstrukcję i wyróżniają się swoim kształtem, z wyraźnie oddzielonym i wykształconym kominem (w odróżnieniu od ukazanego wcześniej wapiennika w Rębielicach - link powyżej ). Pod jednym z kominów widać tutaj fragment okna wsadowego materiału. Niemal cała ich konstrukcja jest wykonana z cegieł, lecz podstawę stanowią wapienne bloki. Wysokość obu wynosi około 26 metrów. Niestety, stan techniczny obu pieców pozostawia wiele do życzenia, widać liczne spękania i odpadające cegły. Utrata ich w wyniku zaniedbania stanowiłaby ogromną szkodę, wszak są one pięknym pomnikiem techniki i postępującego uprzemysłowienia regionu. Wapienniki znajdują się tuż obok Zakładów Chemicznych "Rudniki", produkujących m.in. krzemiany czy szkliwo sodowe. Nieopodal znajduje się nieczynny kamieniołom wapienia "Lipówka", obecnie pełniący funkcję ścieżki edukacyjno - przyrodniczej (wydobycie zakończono w 1989 roku). Wokół jednak wciąż czynny jest przemysł związany z przetwórstwem kamienia wapiennego, mianowicie znajduje się tutaj Cementownia "Rudniki", zaopatrywana w kamień wapienny z kopalni "Latosówka";
Aggregates for the construction of the Low Grade Waste Storage Sheds at Dounreay coming into the harbour.
Srabster Harbour, Caithness, Scotland.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
Leaf Motif Created Using ALPOLIC Aluminum Composite Panels For Pickering Town Centre Fabricated by Cladco Corp
Panel Manufacturer: ALPOLIC
Architect: Petroff Partnership Architects
Location: Pickering, Ontario, Canada
Completion: November 2009
images courtesy of © Cladco Corp
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
Serpentine Pavilion 2019 designed by Junya Ishigami "The Japanese architect Junya Ishigami, celebrated for his experimental structures that interpret traditional architectural conventions and reflect natural phenomena, was selected to design the Serpentine Pavilion 2019.
Ishigami’s design takes inspiration from roofs, the most common architectural feature used around the world. The design of the 2019 Serpentine Pavilion was made by arranging slates to create a single canopy roof that appeared to emerge from the ground of the surrounding park. Within, the interior of the Pavilion was an enclosed cave-like space, a refuge for contemplation. For Ishigami, the Pavilion articulated his ‘free space’ philosophy in which he seeks harmony between man-made structures and those that already exist in nature.
Describing his design, Ishigami said: ‘My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made out of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.’
Junya Ishigami (b. 1974) worked as an architect at SANAA before founding the prize-winning Junya Ishigami + Associates in 2004. Winner of the Golden Lion award at the Venice Biennale of Architecture in 2010, he was the subject of a major and critically acclaimed solo exhibition at the Fondation Cartier pour l’art contemporain in 2018 that is traveling to the Power Station of art in Shanghai later this year. He is known for designs with dream-like qualities that incorporate the natural world, such as landscapes, forests and clouds, in an architectural practice that places humankind as part of nature.
He is the nineteenth architect to accept the invitation to design a temporary Pavilion on the Serpentine Gallery’s lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK structures by some of the biggest names in international architecture. In recent years it has grown into a highly-anticipated showcase for emerging talent, from Frida Escobedo of Mexico to Francis Kéré of Burkina Faso and Bjarke Ingels of Denmark, whose 2016 Pavilion was the most visited architectural and design exhibition in the world.
Serpentine Galleries Artistic Director Hans Ulrich Obrist and former CEO Yana Peel selected 2019’s architect with advisors Sir David Adjaye OBE, Lord Richard Rogers and David Glover alongside Julie Burnell (Head of Construction and Buildings, Serpentine Galleries) and Amira Gad (Curator, Exhibitions and Architecture, Serpentine Galleries).
Serpentine Pavilion Architect's Statement
The design for the 2019 Serpentine Pavilion takes roofs, the most common architectural feature, as its point of departure and inspiration. It is reminiscent of roofing tiles seen around the world, bridging both architectural and cultural references through this single architectural feature. The roof of the Pavilion is made by arranging slates to create a canopy that alludes to nature. It appears to emerge from the ground of the surrounding Park.
My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.
The interior of the Pavilion is an enclosed cave-like space, a refuge for contemplation. For me, the Pavilion articulates a ‘free space’ philosophy that is to harmony between man-made structures and those that already exist in nature.”
Text above © Copyright The Serpentine Gallery 2019
from www.serpentinegalleries.org/exhibitions-events/serpentine...
Sophia Al-Maria: Taraxos
“ * - Every asterisk a star. Every star a clock. Every clock a chime. Every chime a warning. Waking a cell, then a seed, then the germ of a weed getting ready to flower. – Sophia Al-Maria
Sophia Al-Maria considers the dandelion an emblem of freedom and resistance, as each seed has the potential to become an agent of resilience and change. Inspired by the life cycle and geometry of the dandelion (taraxacum officinale), the sculpture taraxos is a model for understanding and listening to the world.
Taraxos is a meditative place for anyone to slow down time for themselves. Visitors can sit beneath and stand amongst a constellation of 12 metal achenes, which take the form of futuristic dandelion ‘seeds’, and listen to the sculpture. Activated by the wind, the sculpture can also be played by touching the stems which are covered in copper, a material selected for its antimicrobial qualities.
At the top of each achene the asterisk* appears as shorthand symbolising a dandelion seed’s bracts, below it is inscribed into the ground in reference to the navigational tool of a meteorological wind rose. The punctuation mark of the asterisk* is a motif in Al-Maria’s work which emerged from her screenwriting practice in which the asterisk indicates rewriting and revision. The central node of taraxos is a piece of reclaimed titanium from an airplane. This durable yet light material, ideal for air and space travel mirrors that of the seemingly fragile airborne dandelion seed.
The Serpentine x Modern Forms Sculpture Commission focuses on Serpentine’s immediate environment as a space for artists to engage with the landscape of the park.
Sophia Al-Maria was selected for this new public sculpture commission by Hans Ulrich Obrist, Artistic Director, Melissa Blanchflower, Curator, Exhibitions and Public Art, Serpentine and Nick Hackworth, Director, Modern Forms.”
Text © The Serpentine Gallery 2021-22
Image © Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to license this image for any purpose, please visit my site and contact me with any questions you may have. Please visit Susan Candelario artists website to purchase Prints Thank You.
Says the owner, Scott B. from MI, "The boys at Menards were impressed. About 1100 lbs. of flooring loaded on the cover drew a crowd of blue vests."
Another shot of Builder Center's Leyland/DAF 60 delivery lorry I was driving during the summer of 1996, delivering to a private house.
Old brick works with Hoffmann kiln.
Jedna z wielu cegielni zlokalizowanych w okolicy. Duże pokłady iłów zadecydowały o rozwoju przemysłu ceramicznego w tym rejonie po II połowie XIX wieku. Impulsem do jego rozwoju był również pożar miasta w 1807 roku, przez który zaczęto odchodzić od budownictwa drewnianego. Wewnątrz budynku cegielni znajduje się kręgowy piec typu Hoffmana. Konstrukcja pieca została opatentowana w 1858 roku przez Friedricha Hoffmanna. Piec ten ma postać półokrągłego tunelu, natomiast jego kształt od góry przypomina rozciągnięty pierścień. Pośrodku pieca stoi komin. Robotnicy układali wewnątrz pieca stos surowych, uformowanych cegieł, a następnie zamurowywali wejścia. Palacz zasypywał ze specjalnego wózka węgiel do pieca poprzez otwory w jego stropie. Przesuwanie wózka i zasyp paliwa w kolejne otwory wzdłuż pieca powodowało, że płomień wewnątrz niego wędrował. Piec dzieliło się na sekcje i podczas gdy z jednej strony następowało wypalanie cegieł, z drugiej zaś gotowy wyrób był odbierany. Gorące powietrze, pochodzące z sekcji chłodzenia wyrobów trafiało do sekcji załadowanej świeżym materiałem celem jego dosuszenia. Powietrze to kierowało się do odpowiednich komór za pomocą przestawianych rur. Natomiast gorącymi spalinami podgrzewało się wsad przed wypaleniem. Był to dowód na pierwsze starania inżynierów na zwiększenie efektywności energetycznej pieca. Nierównomierne spalanie w przekroju pieca i zróżnicowany rozkład temperatur powodował, że powstawała cegła o wyjątkowych walorach wizualnych i służyła do rekonstrukcji najpiękniejszych zabytków. Proces wypalania cegieł tą metodą trwał przez około 2 - 3 doby. Obecnie jest stosowany głównie w cegielniach rzemieślniczych, natomiast wypalanie cegieł we współczesnych cegielniach odbywa się w piecach tunelowych, opalanych olejem opałowym lub gazem ziemnym. Po lewej stronie widoczny jest fragment drewnianego zadaszenia suszarni uformowanych wyrobów przed wypalaniem.
Philplug Screwfix Expandite
A Castrol Company
Western Road, Bracknell, Berkshire
www.boyesturnerclaims.com/our-cases/settlement-production...
Caption: April, 1985. Workman preparing building materials for temporary shelters.
Citation: Mennonite Board of Missions Photographs. Chile, Donald and Marilyn Brenneman. IV-10-7.3 Box 1 Folder 31. Mennonite Church USA Archives - Goshen. Goshen, Indiana.
Matthew P. of Ontario maxes out the hauling capacity of the black DiamondBack HD on his Ram pickup with concrete mix and a wheelbarrow.
Chantier de réhabilitation des bâtiments 001 et 003 de la Cité administrative – Caserne Thiry et aménagement de la place d'Armes.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Centre
Adresse : 47, rue Sainte-Catherine,
Fonction : Administration
Construction : 2022 → 2024
► Architectes : Architectures Studio
PC n° 54 395 22 N0016 délivré le 20/06/2022
Niveaux : R+3
Hauteur maximale : 26,95 m
Surface de plancher totale : 17 301 m²
Superficie du terrain : 46 014 m²
This is one of 6 images in the set. This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Today part of the Hinkle House is the Andrews Funeral Home www.andrewsfuneralservices.com/fh/home/home.cfm?fh_id=14468 just south of Gloucester Court House in Gloucester County, Virginia. It was built around 1910 of structural terracotta (also spelled terra cotta) blocks and stucco covering. This information came from a phone conversation with the home owner. In the last quarter of the 19th century, stucco and hollow terracotta bricks had become more common as building materials but never reached tremendous popularity in home construction. Terracotta is clay based and is notable for widespread use as roof tiles and in sculpture (when glazed) as well. Homes of this construction were advertised as having fire resistant properties. Use of terracotta and stucco helped create homes with quiet interiors, sound effectively diminished by the structural properties. The hollow tiles were used as foundation and walls, the latter often covered by plaster generally on exterior walls. Structural terracotta has gone by many names—hollow tile, building tile, structural clay tile, terracotta blocks, terracotta bricks, etc.
The spacious 2 1/2 storied home has steep-pitched red-shingled roofs and prominent gables. Visible on the front façade is a gabled dormer with two windows. This pattern of paired windows is prominent as well on the front façade. The fenestration is mostly 9/1 sash. The ground level has an addition to the left, a slight bay construction and an entry porch. The porch is small and covered with a sloping roof, a small gable and underneath that a partial arch, which matches the arched transom of the door; four slender Tuscan columns support the roof. The entrance is single-leaf with 10 glass panes; the sidelights consist of 5 panes each. It seems the transom consists of irregularly shaped panes, possibly of a sun-burst pattern. The photos were taken around 7:30 on an early May morning in 2011; the light was not the best at that time.
For additional information on terra cotta see
en.wikipedia.org/wiki/Structural_clay_tile
en.wikipedia.org/wiki/Terra_cotta
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
White Chevy Silverado belonging to Steve S. of Florida hauls building materials and a ladder on a black DiamondBack HD Cover.
Persistent URL: digital.lib.muohio.edu/u?/tradecards,1295
Subject (TGM): Houses; Dwellings; Building construction; Buildings; Blueprints; Plans; Architects; Building materials; Construction; Architectural drawings; Architects' offices; Architecture; Porches; Calendars; Lumber; Oil wells; Floor coverings; Plasterwork;
Serpentine Gallery Pavillion 2017, text from website copyright of serpentinegalleries.org
Summary
Diébédo Francis Kéré, the award-winning architect from Gando, Burkina Faso, was commissioned to design the Serpentine Pavilion 2017, responding to the brief with a bold, innovative structure that brings his characteristic sense of light and life to the lawns of Kensington Gardens.
Kéré, who leads the Berlin-based practice Kéré Architecture, is the seventeenth architect to accept the Serpentine Galleries’ invitation to design a temporary Pavilion in its grounds. Since its launch in 2000, this annual commission of an international architect to build his or her first structure in London at the time of invitation has become one of the most anticipated events in the global cultural calendar and a leading visitor attraction during London’s summer season. Serpentine Artistic Director Hans Ulrich Obrist and CEO Yana Peel made their selection of the architect, with advisors David Adjaye and Richard Rogers.
Inspired by the tree that serves as a central meeting point for life in his home town of Gando, Francis Kéré has designed a responsive Pavilion that seeks to connect its visitors to nature – and each other. An expansive roof, supported by a central steel framework, mimics a tree’s canopy, allowing air to circulate freely while offering shelter against London rain and summer heat.
Kéré has positively embraced British climate in his design, creating a structure that engages with the ever-changing London weather in creative ways. The Pavilion has four separate entry points with an open air courtyard in the centre, where visitors can sit and relax during sunny days. In the case of rain, an oculus funnels any water that collects on the roof into a spectacular waterfall effect, before it is evacuated through a drainage system in the floor for later use in irrigating the park. Both the roof and wall system are made from wood. By day, they act as solar shading, creating pools of dappled shadows. By night, the walls become a source of illumination as small perforations twinkle with the movement and activity from inside.
As an architect, Kéré is committed to socially engaged and ecological design in his practice, as evidenced by his award-winning primary school in Burkina Faso, pioneering solo museum shows in Munich and Philadelphia.
Serpentine Pavilion Architect's Statement:
The proposed design for the 2017 Serpentine Pavilion is conceived as a micro cosmos – a community structure within Kensington Gardens that fuses cultural references of my home country Burkina Faso with experimental construction techniques. My experience of growing up in a remote desert village has instilled a strong awareness of the social, sustainable, and cultural implications of design. I believe that architecture has the power to, surprise, unite, and inspire all while mediating important aspects such as community, ecology and economy.
In Burkina Faso, the tree is a place where people gather together, where everyday activities play out under the shade of its branches. My design for the Serpentine Pavilion has a great over-hanging roof canopy made of steel and a transparent skin covering the structure, which allows sunlight to enter the space while also protecting it from the rain. Wooden shading elements line the underside of the roof to create a dynamic shadow effect on the interior spaces. This combination of features promotes a sense of freedom and community; like the shade of the tree branches, the Pavilion becomes a place where people can gather and share their daily experiences.
Fundamental to my architecture is a sense of openness. In the Pavilion this is achieved by the wall system, which is comprised of prefabricated wooden blocks assembled into triangular modules with slight gaps, or apertures, between them. This gives a lightness and transparency to the building enclosure. The composition of the curved walls is split into four elements, creating four different access points to the Pavilion. Detached from the roof canopy, these elements allow air to circulate freely throughout.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
One of Transfleet's lorries on hire to the Builder Center during the summer of 1997. They must have been very busy as the Wolsey Group had a very adequate fleet of well maintained vehicles. It seems only yesterday I was driving this lorry but if you had been born on that day back then, you would be almost old enough to drive it!
Renovators about to work on a church in Santa Fe, NM, had made a great effort to pile their scaffolding and work materials in an organised way, allowing me to have fun with the camera.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “