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G-660 is a high-performance dry set tile adhesive to be mixed with water or latex for installing medium & large format ceramic tiles, vitrified tiles, marble and stone on floors and walls. Combine with SLS-1000 Crete Admix for improved performances.
For more info please visit:
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-...
Sustainable Construction at UVA’s Rice Hall Features ALPOLIC Aluminum Composite Material fabricated by W.H. Stovall & Company, Inc.
Panel Manufacturer: ALPOLIC
Architect: Bohlin Cywinski Jackson
Location: Charlottesville, Virginia
Completion: July 2011
images courtesy of © Mark Rhodes for Mitsubishi Plastics Composites America
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-...
I stone floors has a wide selection of choices when it comes to flooring , we offer a free in home estimate for a turn key price , eliminating the middle man we offer you the savings yet without compromising on quality .
339 Pine Street, Burlington, Vermont USA • One of the many odd items available at ReBUILD Building Material Retail Store.
ALPOLIC Aluminum Composite Panels Modernize The Prescott Border Crossing In Canada Fabricated By Cladco Limited, Burlington, Ontario, Canada
Panel Manufacturer: ALPOLIC
Architect: Farrow Architects Inc.; Ottawa, Ontario, Canada
Location: Prescott, Ontario, Canada
Completion: January 2012
images courtesy of © Cladco Limited
Sustainable Construction at UVA’s Rice Hall Features ALPOLIC Aluminum Composite Material fabricated by W.H. Stovall & Company, Inc.
Panel Manufacturer: ALPOLIC
Architect: Bohlin Cywinski Jackson
Location: Charlottesville, Virginia
Completion: July 2011
images courtesy of © Mark Rhodes for Mitsubishi Plastics Composites America
G-660 is a high-performance dry set tile adhesive to be mixed with water or latex for installing medium & large format ceramic tiles, vitrified tiles, marble and stone on floors and walls. Combine with SLS-1000 Crete Admix for improved performances.
For more info please visit:
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 spa
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
Looking south-southwestward, over a portion of the site's later, Roman-era construction. We're at the intersection of the north-south Via Sacra and the Decumanus (the main east-west thoroughfare in Roman civic planning).
This very spot can be accessed on Google Earth Street View. It doesn't appear to have changed at all.
I'm glad I took another look at my Paestum slides, because among the ones of the site's magnificent Doric temples I've already posted, I found this seemingly humble shot. It actually contains a lot of architectural geology. In fact, it's a bite-sized showplace of the mighty triad of traditional building materials—stone, brick, and concrete.
Roman Concrete often looks very much like the coarse-grained sedimentary rock known as conglomerate. It has a lumpy, bumpy consistency rarely found in modern equivalents. Nevertheless, it's a much more enduring material, thanks in part to its wondrous binder material, pozzolana derived from central Italy's ample deposits of volcanic tuff.
The low walls at lower right show exposed Roman Concrete, while the pier remnant or pedestal or whatever it is in front of and slightly to the right of the column is a nice example of the most common, long-and--low style of Roman Brick.
The column itself, though, is a splendid example of the locally quarried Paestum Travertine. This is a special type of limestone produced by water flow and deposition in calcium-rich springs.
In the case of the Paestum Travertine, the source was the Capodifiume springs, which since the Pleistocene have generated a sizeable volume of characteristically porous rock that in my own geo-lingo is distinctly bubblaceous. (If you'd like to rent this term for your own journal paper or poster presentation, please contact me and I'll arrange easy terms.)
The bubblaceousness is the result of small pockets of carbon-dioxide that were trapped inside the sediments before they lithified.
No doubt some of the column's vugs and cavities are considerably larger than they were originally, due to centuries of either burial or subaerial weathering. But its drums remain neatly stacked on one another, and still look structurally competent.
The other photos and descriptions of this series are ready for your inspection in my Architectural Geology of Paestum album.
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.
Philly Spring 2011 Shoot - Graffiti Underground Tunnel (b&w infrared and hdr) - large view click here
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