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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
Travaux sur le réseau électrique.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Centre
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.
Improved clay stove.
Photo by Arnauld Chyngwa/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
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...
20092009IMG_0416-rsc-Brick-Tree
Ok, so I missed Yesterday's challenge. I was traveling all day and there just aren't any trees in airports. Go figure. But non the less I wanted to make that shot up so I combined it with today's.
of course you are probably now saying, ok I see brick, and I see a tree but Wolfie, the tree shot was supposed to be black and white. Well it is. Using the opposite of the spot color technique I learned earlier this week, I spent about five hours coloring the tree, but not the brick.
it didn't turn out quite as dramatic as I had hoped, but it was a fun exercise and surely must be a good penance for missing a day.
Soon I promise I will be around to check out all of my fellow photochallengers works, as I am behind a few days, but now I need to sleep. g'nite internets!
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
Wolfgang Buttress's UK pavilion for the World Expo 2015 in Milan, relocated to Kew Gardens in June 2019
Old tiles that date possibly back to the 1889 building's construction are stacked In the basement of the Auditorium Theatre.
Poids en ordre de marche : 17 100 - 19 950 kg
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
Archaeological excavations at CEMEX’s Kingsmead Quarry in Berkshire, not far from Windsor, have revealed a rare ‘Beaker’ burial of ‘Copper Age’ date (2500-2200 BC). The burial represents an unusual and important find as the remains were those of a woman and within the grave were some gold ornaments.
This follows the find at Kingsmead of four Neolithic houses which date back over 5,700 years, unprecedented on a single site in England.
Dr Stuart Needham, a leading expert on Copper Age metalwork, who is presently studying the gold ornaments said: “Beaker graves of this date are almost unknown in South East England and only a small number of them, and indeed in continental Europe, contain gold ornaments. The tubular beads that were found at Kingsmead Quarry are certainly rare in Britain.
The burial contained the remains of a woman who was at least 35 years old. At the time of her burial, she wore a necklace containing small tubular sheet gold beads and black disc beads of lignite - a material similar to jet.
Accompanying notes provided By V&A Mueseum, London. Copyright the V&A Museum.
ELYTRA, Filament Pavilion
18 May - 6 November, 2016
Elytra is a responsive shelter. A robot will build new components of the structure on the site, allowing the canopy to grow over the course of the V&A Engineering Season. Your presnce in the pavilion today will be captured by sensors in the canopy and ultimately will affect how and where the structure grows.
The pavilion tests a possible future for architectural and engineering design, exploring how new robotics technologies might transform how buildings are designed and built. The design draws on research into lighhtweight construction principles found in nature. It is inspired by the filament structures of the shells of flying beetles, know as elytra.
Made of glass and carbon fibre, each component is produced using robotic winding technique developed by the designers. Unlike other fabrication methods, this does not require moulds and can produce an infinite variety of spun shapes, while reducing wate to a minimum. This unique method of fabrication integrates the process of design and making.
Like beetle elytra, the structure is both strong and very light. The pavilion's entire filament stutcure weighs less than 2.5 tonnes - equivalent to 1.4 by 1.4 m squared prortion of the V&A's wall around you.
Part of the V&A Engineering Season.
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.