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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.
In the city's River North neighborhood, at the intersection of N. Wabash Avenue and E. Huron Street. Facing southeastward.
This portion of the Windy City boasts an impressive collection of Gothic Revival churches whose main exterior building material is rock-faced ashlar of the Silurian-period Lemont-Joliet Dolostone (LJD). It was quarried in the Lower Des Plaines River Valley southwest of the metropolis.
St. James is one of my favorites of these houses of worship, because it shows off this rock type's tendency to weather to ocher and buttery tones. This lovely patina develops as the stone's iron impurities change with exposure to the atmosphere from the ferrous to the ferric state.
As its original completion year indicates, the cathedral had been standing for almost a decade and a half by the time the Great Fire of 1871 swept through many of the city's existing neighborhoods, including River North. And it suffered grievously from the conflagration. Only its belltower and a portion of its nave walls were left standing afterward. But, as part of the great flurry of civic reconstruction that followed, new LJD was added to complete the church's reconstruction.
It's tempting to think that the heavy coating of soot visible today on the tower's railing and finials bears witness to the disaster. But, as I explain in Chicago in Stone and Clay, I've come across a stereograph photo pair that shows the church soon after the fire. On it, the tower top is clearly as pale-toned as the ashlar below it, and utterly grime-free. So the blackness seen today must have accumulated in the years of rampant bituminous-coal burning that followed. This makes sense when one also notes that the building's central chimney, which had to be rebuilt after the blaze, is now similarly sooty.
The LJD here was deposited about 425 Ma ago, in a shallow saltwater sea that covered the Kankakee Arch. That narrow crustal upwarp separated the deeper waters of the developing Michigan and Illinois Basins. At this point in the Paleozoic era, the American Midwest was situated in the subtropics south of the equator.
The other photos and descriptions in this series can be found at Glory of Silurian Dolostone album.
And for even more on this architectural and geologically impressive building, immediately and unhesitatingly get a copy (or two or three) of my book, Chicago in Stone and Clay. Here's the publisher's description: www.cornellpress.cornell.edu/book/9781501765063/chicago-i...
By Matt Vaughn, Winter 2020
This table was made with a salvaged fir legs and welded steel frame. The fir legs were based with hardwood cap and felt pads.
By Matt Vaughn, Winter 2020
This table was made with a salvaged fir legs and welded steel frame. The fir legs were based with hardwood cap and felt pads.
(Last Updated on February 15, 2025)
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 from Windhover Hall down the Pavilion's easternmost long corridor.
The supernatural whiteness of this museum interior is due to its Carrara Marble flooring and to the painted, asymmetrical arches made of concrete that was set in custom-made wooden molds.
The Carrara takes a very high-gloss shine, and that attribute is obvious here. This famous stone, used since ancient Roman times, hails from the Apuan Alps of northern Italy. It began as a Jurassic-period limestone that was metamorphosed into true marble during pulses of mountain-building in the Oligocene and Miocene epochs.
The concrete is a geologically derived building material, too. A mixture of cement, water, and aggregate (sand or larger rock particles), its primary chemical component is lime—calcium oxide and hydroxide produced by the burning of the calcium carbonate contained in limestone and dolostone. When the lime-containing cement is mixed with water, an exothermic (heat-releasing) reaction is produced, and a new, moldable substance resembling limestone or conglomerate comes into being.
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.
Love the variation in these terra cotta tiles. Since southern Italy and Sicily are mountainous, and buildings are terraced on the mountain, one can often see these beautiful roofs.
By David Spangler, Spring 2020
This end table was made with upcycled vintage vanity components and a new top.
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.
Digitised image from the Town Hall Photographer's Collection - GB127.M850
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
By David Spangler, Spring 2020
This end table was made with upcycled vintage vanity components and a new top.
Serpentine Gallery Pavilion 2017 by Diébédo Francis Kéré
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.
Lies Baas 04-03-2010 Today is my wedding anniversary>strange when you are getting a divorce at the same time...
Wherever it is sited ...in Trafalgar Square, in the market place of a country town, outside a suburban post office, or half drowned in vegetation at the edge of a country road... the Gilbert-Scott telephone box never looks out of place. This example is in an angle of the wall at the side of the Town Hall of Eye, Suffolk.
Pevsner, as might have been expected, hated the building, calling it "horrible". Furthermore, its clock tower was also "horrible". It went up in 1857 and was designed by E. B. Lamb. Though it is the most noticeable building in Eye (the wonderful parish church is a little removed from the centre) Pevsner's Suffolk gives it only three lines of the three pages he allotted to the town. I find the building very enjoyable. There are features of real quality and who could fail to like those jazzy panels of flint pebbles, set among courses of "streaky bacon" brickwork? According to the late Alec Clifton-Taylor (when will they release his television programmes on DVD?) these flints, probably river-rolled or from a beach, are known in certain parts of the country as "petrified kidneys".
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.
John from Sutton-in-Ashfield, UK shows off how to haul long joists with a DiamondBack HD and HD Cab Guard. (rear view)
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."
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
Thermalite blocks are extraordinary compared to other structural materials to flame-resistant a turn of events. The blend of the small scale cell structure and the utilization of non-flammable crude materials is the way to making them heatproof. They are classed as A1, non-ignitable as per Building Regulations.
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The strategy is essentially equivalent to when fixing to ordinary cement or brickwork. A gap of the distance across expressed on the fixing is penetrated and the Lightweight square fixing is embedded, however, with these they are fastened, not simply pushed in as should be obvious from the pictures beneath.
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Steps for fixing to lightweight blocks:
Drill a gap into the square: the size of the opening will be dictated by the fixing. You can utilize a kind of universally useful boring tool to do this as the square is genuinely delicate.
Screw-in the fixing: Screw and fixing, either by hand (in the event that you can) or utilizing the drill connection gave in the case of fixings
Fix the fixing so it is flush with the square: Take care not to screw it excessively far and harm the gap, however, utilize a drill and the connection to drive the fixing into the square so it is flush with the outside of the square
Utilize your fixing to make a protected connection to the square: Now the fixing is secure it is conceivable to screw what you have to the square as you would for some other fixing
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.
By Matt Vaughn, Fall 2019
These chairs were made from scraps of rebar that were donated to the store. The oak seats were milled to have an ergonomic curve and the Koa backs were made to match.
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
Poids en ordre de marche CE : 21 400 kg
Largeur de fraisage : 1 300 mm
Profondeur de fraisage max. : 330 mm
Travaux de développement et d'interconnexion des réseaux de chauffage urbain de la Métropole du Grand Nancy sur le quartier Saint-Pierre, René II, Bonsecours .
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Saint-Pierre, René II, Bonsecours
Adresses : Avenue Maréchal de Lattre de Tassigny / Avenue de Strasbourg
Durée des travaux : juillet 2025 → octobre 2025
Cork can be used as a building material. It looks chic, natural, and its eco-friendly! Cork is also resistant to mildew, rot and mold. Naturally occurring suberin is the key substance that prevents cork from rotting even when it is completely submerged under water for a long period of time.
Free Palestine. Republican stencil / mural in Divis Street. Shows a tear with a map of the Palestinian Territories (West Bank and Gaza) coming from an eye in colours of the Palestinian flag. The text underneath reads 'Boycott Israeli Goods'. Belfast, Country Antrim, Northern Ireland.
By David Spangler, Spring 2020
This end table was made with upcycled vintage vanity components and a new top.
John from Sutton-in-Ashfield, UK shows off how to haul long joists with a DiamondBack HD and HD Cab Guard. (rear driver side view)
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
While taking some old and rotten sheetrock off the interior of my garage yesterday, I ran across 8 exquisitely preserved invoices from 1928, hanging on a nail behind the sheetrock. That sheetrock had obviously been hanging there since then!. The papers are original invoices for some of the material used to build the garage, and they're beautiful as well as instructive. One of the mysteries they resolve is exactly when the garage was constructed. It was built 18 years after the house! We had wondered why it wasn't a carriage house, like some of the other garages in the area. By the time it was built, automobiles had become relatively commonplace, and the household doubtless had one by that point.
Other interesting points are the phone number (3500) of the lumber yard, and that I can see no trace of a price on any of them. Jesse Hoffman is the man that built our house. He was a well-to-do probate judge in McLean County.
This sheet is the best preserved of them, due entirely to the fact that it was folded before it was pushed onto the nail, thus sheltering the ink from some of the fading that the rest had suffered. I can read most of the other ones, but there are a few words I can't make out.
It's wonderful to have these documents. They'll be archived along with the original blueprints for the house, which I also have. I've neutralized the yellowing on the paper, and enhanced the contrast to bring out the writing.
By David Spangler, Spring 2020
This end table was made with upcycled vintage vanity components and a new top.
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
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
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
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.
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