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A massive tangle of wires looks very much like a snake pit rather than a messy collection of building materials.
Copyright 2008, Amy Strycula
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
At the Du Pont Safety Award ceremony in Istanbul September 2011, CEMEX UK won an award for its cyclist safety campaign. Andy Taylor, Director Health and Safety was at the ceremony to receive the award
Construction de l'ensemble immobilier le Clos des Cavaliers comprenant un bâtiment de 29 logements collectifs, 12 logements intermédiaires et 13 maisons individuelles sur le site Biancamaria.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Vandœuvre-lès-Nancy (54500)
Quartier : Biancamaria
Adresse : rue du 8E Régiment d'Artillerie
Fonction : Logements
Construction : 2020 → 2021
• Architecte : Oslo Architecture
• Gros œuvre : Dalla Costa
PC n° 54 547 17 R0024 délivré le 6 février 2018
Niveaux : R+4
Hauteur : 15.07 m
Surface de plancher : 3 355 m²
Surface du terrain : 6 208 m²
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
Objects of Desire: Surrealism and Design 1924 – Today
“Curated with Vitra Design Museum, the exhibition will explore design from the birth of surrealism in 1924 to the current day; spanning classic Surrealist works of art and design as well as contemporary surrealist responses.
The exhibition will uncover how one of the 20th century's most influential movements came to impact design through its questioning of the conventional and its commitment to exploring the mind, unconscious and mystical.
It will bring together the best in Surrealist design, from furniture, interior design, fashion, photography and world-renowned artworks from Surrealist pioneers such as Salvador Dalí, Dora Maar, Man Ray, Leonora Carrington and Lee Miller, through to contemporary artists and designs, such as Schiaparelli, Dior, Björk.
The result is an exhibition filled with playful, curious and poetic objects that uncover the rich history of Surrealism and its fascinating influence on design.
#ObjectsOfDesire”
“'Miss Blanche' chair, 1988
SHIRO KURAMATA
Roses floating in transparent resin give this chair a dream-like, insubstantial appearance. It is named after the fragile character of Blanche DuBois, from Tennessee Williams play A Streetcar Named Desire.
Shiro Kuramata's design expresses Blanche's increasingly unstable sense of reality in a tragic story shot through with beauty and delusion, seduction and violence.
Manufactured by Ishimaru Co. Ltd
Acrylic resin, plastic roses, anodised tubular aluminium
Vitra Design Museum”
All text above © The Design Museum, 2022
From the Guardian Newspaper 12 June 2016:
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree.
It is designed by BIG, or Bjarke Ingels Group, a name that cleverly combines the initials of its 41-year-old founder and leader with the alternative custom of choosing names that carry some sort of meaning (OMA, the late lamented FAT, muf, Assemble). The latter is supposed to deflect attention away from individuals towards something more general: “BIG” is universal and personal at once, none too subtle in its meaning and statement of ambition and has the added attraction that the original Danish practice can call its website big.dk.
The name encapsulates Ingels’s genius, which is to combine the avant-garde trappings of an OMA with a happy-to-be-trashy flagrancy, an embrace of the values of marketing, a celebration of ego. “What I like about architecture,” he says, “is that it is literally the science of turning your fantasy into reality.” His approach has earned BIG the mistrust, awe and envy of fellow professionals, the adulation of many students and a 300-strong practice with offices in Copenhagen, New York and, as revealed in an announcement coinciding with the Serpentine launch, London.
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree."
Original article at: www.theguardian.com/artanddesign/2016/jun/12/serpentine-p...
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
A local crane next to a steel production facility under the full moon.
1 minute, 43 seconds at f8, ISO 100
Looking westward at this small edifice's Doric facade.
The first portion of the title refers to the fact that the ancient Greeks considered Delphi the navel of the world.
In Part 7 of this set we had our first look at the Athenian Treasury from our perch atop the Theater. Here we see it close at hand, with some Almond Trees (Prunus dulcis) in full bloom, at left, behind it. This building dates to the late sixth or early fifth century BC, and its reconstruction, effected by a team of French archaeologists, was completed in AD 1906.
The Athenian Treasury is distinguished from other notable structures of the Delphi complex by the allochthonous (imported) rock type that serves as its building material.
Even from this distance, it could appear that the Treasury is made of ashlar of one of the locally derived limestones used so prolifically elsewhere on site. It could be, that is, if it weren't for its overt whiteness. Architectural limestones tend to be off-white at best, or pale gray, or bluish-gray, or buff, or even black. Note, for example, the much darker blocks of limestone-derived Slope Breccia sitting in front of the entrance.
And if you could step a little closer, and especially if you could touch this stone, you'd know by its fine- to medium-grained calcite-crystal matrix that it's actually the metamorphosed form of limestone. In other words, it's true marble.
Because this wee architectural gem is the Athenians' Delphic showplace, you'd think that its builders would have used one or both of their own splendid Pentelic and Hymettian Marbles, extracted from mountainsides just to the east of their great and powerful city. But in their quest for ostentatious one-upmanship they went one step farther, and procured the most highly esteemed marble of all, from the Cycladic isle of Paros.
Parian Marble, especially prized by ancient sculptors, was admired for its waxy and workable texture, and for its translucence. In fact, light can be perceived traveling through it to a thickness of 35 mm (1.4 in), whereas the Pentelic has a depth of translucence of only 15 mm (0.6 in). That may not be as impressive as window glass, but it certainly is a notable feat for any rock.
My source for these measurements is, incidentally, Norman Herz's "Geology of the Building Stones of Ancient Greece,” Transactions of the New York Academy of Sciences 17, 7 Series II (May 1955): 499-505.
Of course, the Parian here has gone through many centuries of weathering, discoloration, and biofilm growth. I suspect the bright-white column-drum sections are replacement units made of something else. Or maybe of more recently produced Parian? It was quarried for a while in the late nineteenth century AD, though that's no proof of its use here.
Still, I gather that the other stones, with the exception of the metopes, are all or mostly original.
Interestingly, while the literature abounds with discussion of the archaeology of ancient Paros quarries, I have not found much about the Parian Marble's geology. Pivko noted that it was metamorphosed at some point in the Tertiary, but that's about it (“Natural Stones in Earth’s History,” Acta Geologica Universitatis Comnenianae 58 (2003): 73-86).
I gather from Greek bedrock maps that the limestone protolith was either Upper Paleozoic or Mesozoic, but I can find no reference to its depositional environment.
To see the other photos and descriptions in this series, visit my Geology (Architectural & Otherwise) of the Earth's Center album.
The foundation of the deck sits on an elevated frame, the space can be used for outside storage such as garden hose or pet care
Travaux de voirie rue Raymond Poincaré.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Centre
Adresse : rue Raymond Poincaré
new construction home builders
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Genral construction services, framing and structure
Home remodeling and renovation kitchen remodeling bathroom remodeling living room remodeling
Kitchen remodeling design and custom build includes all kitchen accessories cabinets installation
Bathroom remodeling design and custom build includes all bathroom accessories cabinets installation
Home improvement inside and out includes landscaping and appliances
Genral home repair plumbing electrical, painting and other handyman services call 818-386-1022
Poids en ordre de marche : 15 200 - 17 500 kg
Travaux de renouvellement du site propre du trolley à Nancy dans le cadre des aménagements pour la ligne 1 du trolley.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Sud
Adresse : avenue du Général Leclerc
Durée des travaux : 09/05/2023 → 15/11/2023