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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-...
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.
London Design Festival 2019 - Please Be Seated
“British designer Paul Cocksedge is transforming Finsbury Avenue Square with Please Be Seated. Located in the heart of Broadgate, the Landmark Project will be the most ambitious of British Land’s commissions to date.
The large-scale installation fuses innovation and technology, and responds to the changing rhythm of the community: its design features curves for people to sit on and walk under, further enhancing London’s largest pedestrianised neighbourhood. The work is made from scaffolding planks, and Cocksedge has collaborated with Essex-based high-end interiors company White & White to re-imagine and re-use the building wood.
“Every single aspect of the installation is tailored to its environment as well as the function it serves,” says Cocksedge. “The curves raise up to create backrests and places to sit, as well as space for people to walk under, or pause and find some shade. It walks the line between a craft object and a design solution. It occupies the square without blocking it.”
Broadgate’s The Space | 3FA will be home to an exhibition of Paul Cocksedge’s work, including his journey from inception to creation of Please Be Seated. As part of Shoreditch Design Triangle’s Design Night, Paul will be in conversation with a panel of experts discussing meaningful design for the public realm.
Chief Executive of British Land, Chris Grigg said: “Design is integral to everything we do at British Land so we’re delighted to continue our partnership with London Design Festival for the fourth consecutive year. We truly believe good design has the power to create places where people want to be and where people want to spend time.”
All text Copyright of www.londondesignfestival.com
Detail of stainless copper and silver architectural shapes at the Walt Disney Music Center in Los Angeles.
ALPOLIC Prismatic, Solid and Mica Panels Modernize Outdated Furniture Store Exterior
Fabricated, Designed and Installed by Flexx Corporation; Cambridge, ON, Canada
Panel Manufacturer: ALPOLIC
Location: Cambridge, ON, Canada
Completion: July 2012
image courtesy of © Flexx Corporation
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-...
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
“Cat's Cradle Hands Chair about 1936
SALVADOR DALÍ
EDWARD JAMES
“Surrealism is based on the belief in the superior reality of previously neglected associations, in the omnipotence of dream”.
ANDRE BRETON
This dream-like chair is named after the child's game of Cat's Cradle played with looped string between the fingers. Salvador Dali developed the design with Edward fames collector of Surrealist at. James was fascinated by an expressive Dance of the Hands performed by Tilly Losch and Hedy Pfundmayer. Losch was married to lores from 1931-34.
Manufactured and hand-carved by John English
Oak, Leather
West Dean College of Arts and Conservation”
All text above © The Design Museum, 2022
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This set has 7 images] Built 1921-1922 in Spanish Mission style, St. Agnes Catholic Church in Mena, Arkansas, uses fieldstone as its primary building material, the entire structure on a continuous cast concrete foundation. The locally obtained stone enhances the architectural style well. All the roofs are clad with green ceramic tile, from the gable roof on the front (eastern) facade to the hipped roof surfaces over the asymmetrical towers flanking the front entrance. My bad knee prevented taking photographs of the 3-sided apse on the western facade and other facades. The church is a single story. In the central gable above the entrance is a monumental symmetrically placed Gothic window of leaded glass and a trim of bricks as its surround. Stone simulates quoins on either side of this window. Below is a large entrance that mimics the shape of the window above. There is a double-leaf door with large single-pane sidelights. Just above the door is a rectangular stained glass pane and above this a single pane of an exaggerated triangle. Brick surrounds the door frame on 3 sides. The shorter tower at the entrance has a low hipped roof and two lancet windows, a short one at the lowest part and a taller one above (again with the brick at the outer edges). There are corner buttresses to this tower. The taller tower has the two lancet windows plus an open belfry in addition to the corner buttresses. On each tower is a cross. The National Register of Historic Places nomination form (link below) provides more information on the other facades and details of the interior, which I was unable to photograph. The dimensions of the church and 85x50 feet, the walls being 1 1/2 feet thick. The final cost in the early 1920s was about $25,000. St. Agnes was added to the National Register of Historic Places June 5, 1991 with ID#91000696.
The nomination form in .pdf format is found at www.arkansaspreservation.com/National-Register-Listings/P...
The church website is at www.stagneschurchmena.org/
The photos in this series:
1) front facade
2) front facade and a partial view of the north facade
3) a portion of the tall tower at the entrance
4) the shorter tower at the entrance
5) the entrance
6) the monumental window above the entrance
7) a close-up of the building material used throughout
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Portfolio manager Brian Hicks stands next to a fabrication machine while visiting a copper refinery in Hamburg, Germany.
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.
Travaux d'aménagement du Boulevard de l’insurrection du ghetto de Varsovie dans le cadre du projet Nancy Grand Coeur.
June 1, 2018 - Residential solar project in Palmer, Alaska by Arctic Solar Ventures Corp. (Photo by Dennis Schroeder / NREL)
Call it tin, steel, iron or corro - early Australia would have been lost without the versatile building material called corrugated iron. Applied horizontally, vertically, sloping and even in cylindrical form to Juddy's Hut in Jamieson, it even forms the unique chimney.
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-...