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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...
Reference code: AM54-S4-3-: N124
Physical Description: 1 photograph: nitrate negative; 20 x 126 cm
Date of Creation: 1924
Photographer: Moore, W.J.
Statement of Responsibility: W.J. Moore Photo
Private Records #: Add. MSS. 54
Part of Fonds: Major Matthews collection
Part of Series: Collected photographs
Part of Subseries: W.J. Moore Cirkut negatives
Media Note: Cirkut
Numbering Note: Photographer's number #684.P.
Subject and Geographical Classifications:
Railroads - Freight
Railroads - Locomotives
Building materials
Panoramic photographs
Vancouver (B.C.)
Martin Harper (left) Director of Conservation RSPB and Jesus Gonzalez (right) President of CEMEX UK agree a Memorandum of Understanding, cementing the organisations' relationship for another five years.
The two organisations have been working in close partnership for the last three years and during that time, with the support of the RSPB, CEMEX has created and managed nature habitats equivalent to an area covered by 21 Olympic stadiums. Last year alone, over 100 hectares were restored.
A building stone from central Antipatris, a Roman-era city built by Herod the Great on the site of ancient Aphek. Note the careful and precise dressing of the stone, including the even raised boss (central surface-area) surrounded by a fairly wide border. These are distinctive characteristics of stones used in Herodian and later Roman construction in Israel.
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...
With the nights drawing in and poor visibility slips, trips and falls are the most prevalent hazard in winter time. CEMEX UK has found a simple, cheap and effective solution to help prevent these incidents, a head light
ALPOLIC Aluminum Composite Panels Used On Interior Signage For Red Bull Music Academy Workshop fabricated by Vanmark LLC
Panel Manufacturer: ALPOLIC
Designer: The Ludlow Group
Location: Virginia Beach, Virginia
Completion: Early 2012
image courtesy of © Wilson Kwong
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...
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...
Craftsmen preparing stones to inlay into marble, photographed at Tajganj Agra by Joel Morin. all rights reserved
Metal and green with a splash of sunlight.
Merry Christmas all.
Check out my urban set: www.flickr.com/photos/112426463@N05/sets/72157639094922545/
An age ago. A loose-coupled train of Welsh coal, for Didcot Power Station perhaps, is drawn past Cattybrook Brickworks, near Almondsbury, by an English Electric Type 3 locomotive. Hanging in the air above me "like a tea tray in the sky" and creating a superb din, was the Vulcan bomber used by BAC to test the Olympus engine then being developed at nearby Filton for the Concorde.
How much of the fabric of Victorian Bristol is composed of Cattybrook bricks? Structures like the Welsh Back granary and the various dockside sheds came out of this patch of ground. I remember seeing lorries with Cattybrook Brick Co. lettering when I was a boy. I always thought it a funny name. I threw away the original print of this photograph, but on another taken the same day, Wednesday 25th April 1973, I recorded that the buildings and chimneys were demolished circa August 1973.
Later in the day I went to see The Poseidon Adventure at the ABC Bedminster.
We put one more layer on top of this, followed by the hardboard.
The floor was made of 4 layers: the carpet underlayment, two layers of 7/16" oriented strand board, and a layer of hardboard. The second layer of strand board and the hardboard were both screwed down to make a stable, sturdy surface.
And Tim was careful not to duplicate any seams in material between layers, nor to leave any gap in the hardboard that might catch the tiny heel of a woman's high-heeled shoe.
Famous erotic stone carving sculptures, Lakshmana Temple, Khajuraho, India. Unesco World Heritage Site
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
The artistic side of cement
The artistic side of cement is soon to be revealed in an exhibition by one of Argentina’s leading contemporary artists, Adrián Villar Rojas to be shown at the Serpentine Sackler Gallery in Kensington Gardens, London from 28th September 2013.
CEMEX UK has supplied 4 tonnes Rugby Portland Cement for the creation of the exhibits that will fill Villar Rojas’ exhibition in this new Gallery designed by Zaha Hadid Architects. Villar Rojas is well known for his large scale works which often use building materials such as cement, clay and brick.
The excellent and versatile properties of cement can be seen all around us in our built environment, the exhibition will show us some of its artistic side.
look for an article on Squak Mountain Stone next week on Hewn & Hammered
(http://www.hewnandhammered.com)
The latest addition to a CEMEX Quarry in Wales is a pair of Little Owls. Unlike other owls this species doesn’t hoot but squeaks and tends to hunt at dawn and dusk rather than at night. They often return to the same nesting location, often in cavities. Last year Little Owls were found on nine CEMEX sites and shows how quarrying can enhance nature.
ALPOLIC Aluminum Composite Panels Used On Interior Signage For Red Bull Music Academy Workshop fabricated by Vanmark LLC
Panel Manufacturer: ALPOLIC
Designer: The Ludlow Group
Location: Virginia Beach, Virginia
Completion: Early 2012
image courtesy of © The Ludlow Group