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Accompanying notes provided By V&A Mueseum, London
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.
This series complements my guidebook, Milwaukee in Stone and Clay: A Guide to the Cream City's Architectural Geology. Henceforth I'll just call it MSC.
The MSC section and page references for the building featured here: 5.11; pp. 74-76.
Looking southwestward at the alley-facing eastern elevation and its north-facing Wisconsin Avenue facade.
In Part 4 of this set I mentioned that the Iron Block, like so many other buildings, is an essay in flamboyant outward display and concealed cost-cutting. Here's one last image devoted to this landmark, and it makes that point. While the sides fronting two of Milwaukee's busier streets are decked out in magnificent cast-iron units shipped all the way from New York City, the less visible elevations are much more thriftily made of locally produced Cream City Brick.
For a rundown on the cast iron and its properties and sources, see Part 1. And for the discussion of the Cream City Brick and its unique geochemistry and geologic origins, see Part 4.
And then just do as I did when I took this shot: spend a moment admiring the front's Venetian Renaissance design and marveling at how well the pale-yellow, workaday brick harmonizes with the paint colors chosen as a coating for the cast iron.
This site and many others in Milwaukee County are discussed at greater length in Milwaukee in Stone and Clay (NIU Imprint of Cornell University Press).
The other photos and discussions in this series can be found in my "Milwaukee in Stone and Clay" Companion album. Also, while you're at it, check out my Architectural Geology of Milwaukee album, too. It contains quite a few photos and descriptions of Cream City sites highlighted in other series of mine.
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.
Construction d'une usine pour la fabrication d'éoliennes en mer sur le site du port du Havre.
Pays : France 🇫🇷
Région : Normandie
Département : Seine-Maritime (76)
Ville : Le Havre (76600)
Adresse : avenue Lucien Corbeaux
Fonction : Industrie
Construction : 2020 → 2021
► Architecte : ENIA Architectes
PC n° 076 351 19 H0078 délivré le 27/11/2019
Hauteur : ≈20,00
Surface de plancher : 22 ha
Agnieszka Radwańska (born 6 March 1989 in Kraków) is a WTA Tour Polish tennis player.
Her career high singles ranking is World No. 8, which she achieved on 22 February 2010. Radwańska has also reached four Grand Slam Quarterfinals, becoming the first Polish woman in WTA to reach that far in a Grand Slam. She is also called "The Ice Princess" due to her calm and collected demeanor on-court.
Hasselblad 501CM with Zeiss Distagon f3.5 60mm CF, Kodak Portra 400, developed in Tetenal Rapid C41
I've published a scanning guide. Check it out on Amazon.com:
An interesting book produced in 1922 at a time when the post-WW1 slogan "Homes for Heroes" was still valid and many schemes for the more economic construction of houses, either by size, scale or construction methodolgy were being proposed. This was also the time when many municipal authorities were first seriously involved in the provision of social or council housing. This book, with a foreword by Sir Charles Ruthen, Director-General of Housing in the Ministry of Health, has a series of articles both on types and plans of 'modern cottages' but also looks at various contemporary construction methodology including 'modern methods of building' that involved either a decree of prefabrication or the use of 'labour' and cost saving materials such as concrete blocks. and the production of concrete. Many of these methods, similar to those considered in similar post-WW2 years, where not widely adopted and properties using such novel methods often displayed defects. In many ways the 'traditional' construction methods of brick and wet trades won out.
The book also has many pages of adverts for builders and suppliers, many of which allude to the construction methods discussed in the articles. This advert is for the London and Birmingham based builders A & S Wheater who had completed schemes for various municipalities including Brighton (illustrated), Smethwick and Reading.
Poids en ordre de marche CE : 20 600 kg
Largeur de fraisage : 1 500 mm
Profondeur de fraisage max. : 320 mm
Travaux sur le réseau d'eau potable rue de Saurupt à Nancy.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Sud
Adresse : rue de Saurupt
Durée des travaux : février 2025 → mai 2025
A building's rear on the main street of Neerim South. The backyard a storage area of building materials old and new - particularly of stacked pallets of new bricks.
OLYMPUS DIGITAL CAMERA
© All images Copyright Luke Zeme Photography. Contact for license usage.
Amazing what good design and engineering can accomplish. These bricks were custom made for the Phoenix Gallery in Chippendale Sydney by Krause Bricks.
The idea was initiated by a private patron whereby each element of the space was authored by a different hand. It has 3 main spaces; a gallery, a performance space and and a garden connecting it all together.
The Gallery architects are: John Wardle Architects
The performance space architects: Durbach Block Jaggers
Engineering: TTW Engineers
Brickwork by Krause Bricks
Garden spaces: 360 Degrees Landscape
I can’t wait to explore the various ways the spaces crossover and interact with my camera
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I’m a professional Sydney photographer specialising in Architecture | Commercial | Residential | Aerial. Get a quote or see my portfolio at www.zeme.photography
Follow my instagram accounts-
My Landscapes, Seascapes and all things great! - luke zeme's main Instagram acc
My Commercial, Architectural and other work photographs! -
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Software and Presets I personally use in my photography
Lightroom replacement(alternative) software - Luminar! Use code "lukezeme" for a 15% discount -Skylum's Luminar Link
Preset collections, Photography tutorials and loads more , USE code "lukezemephotography" for 10% discount - Preset collections, Photography tutorials Link
Best HDR software on the market - Use code "lukezeme" for a 15% discount! - Skylum's Aurora HDR 2019 Link
Topaz has an incredible Photoshop Plugins collection + Studio for anything you can think of - Topaz Labs Link
The BEST Time Lapse software on the market. This software makes creating incredible Time Lapse videos easy for anyone - LRTimeLapse5 Link
On1 has been delivering amazing photography software for a long time, check out their Suite and plugins here - On1 Software Link
Get Adobe Photoshop & Lightroom on the Photography Plan, a cheaper option for photographers :-) - Adobe Photography Plan Link
My 50 best Lightroom presets in 1 pack, including 10x HDR presets - Get Adobe Photoshop & Lightroom on the Photography Plan, a cheaper option for photographers :-) - Luke Zeme's Premium Preset Collection Link
Sell your own prints online with a Zenfolio online print shop, this is how I sell my prints online - Sell your own prins online Link
Easily build a website with WIX, they have beautiful templates that make the whole process a breeze - Build your own website with WIX Link
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© All images Copyright Luke Zeme Photography. Contact for license usage.
Amazing what good design and engineering can accomplish. These bricks were custom made for the Phoenix Gallery in Chippendale Sydney by Krause Bricks.
The idea was initiated by a private patron whereby each element of the space was authored by a different hand. It has 3 main spaces; a gallery, a performance space and and a garden connecting it all together.
The Gallery architects are: John Wardle Architects
The performance space architects: Durbach Block Jaggers
Engineering: TTW Engineers
Brickwork by Krause Bricks
Garden spaces: 360 Degrees Landscape
I can’t wait to explore the various ways the spaces crossover and interact with my camera
.
.
.
I’m a professional Sydney photographer specialising in Architecture | Commercial | Residential | Aerial. Get a quote or see my portfolio at www.zeme.photography
Follow my instagram accounts-
My Landscapes, Seascapes and all things great! - luke zeme's main Instagram acc
My Commercial, Architectural and other work photographs! -
luke zeme's Commercial Instagram acc
------------------------------------------------------------------------------------------
Software and Presets I personally use in my photography
Lightroom replacement(alternative) software - Luminar! Use code "lukezeme" for a 15% discount -Skylum's Luminar Link
Preset collections, Photography tutorials and loads more , USE code "lukezemephotography" for 10% discount - Preset collections, Photography tutorials Link
Best HDR software on the market - Use code "lukezeme" for a 15% discount! - Skylum's Aurora HDR 2019 Link
Topaz has an incredible Photoshop Plugins collection + Studio for anything you can think of - Topaz Labs Link
The BEST Time Lapse software on the market. This software makes creating incredible Time Lapse videos easy for anyone - LRTimeLapse5 Link
On1 has been delivering amazing photography software for a long time, check out their Suite and plugins here - On1 Software Link
Get Adobe Photoshop & Lightroom on the Photography Plan, a cheaper option for photographers :-) - Adobe Photography Plan Link
My 50 best Lightroom presets in 1 pack, including 10x HDR presets - Get Adobe Photoshop & Lightroom on the Photography Plan, a cheaper option for photographers :-) - Luke Zeme's Premium Preset Collection Link
Sell your own prints online with a Zenfolio online print shop, this is how I sell my prints online - Sell your own prins online Link
Easily build a website with WIX, they have beautiful templates that make the whole process a breeze - Build your own website with WIX Link
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This series complements my award-winning guidebook, Chicago in Stone and Clay: A Guide to the Windy City's Architectural Geology. Henceforth I'll just call it CSC.
The CSC section and page reference for the building featured here: 9.2; pp. 142-144.
Looking northward, along the eastern elevation.
And finally we're outdoors. This oblique view of the station's Canal Street facade shows its grand Tuscan-order colonnade.
The Tuscan style resembles the Doric, but it's even less adorned, with unfluted column shafts.
And it's these columns that are one of Chicago's finest examples of the effective use of America's most widely distributed architectural rock type, the Salem Limestone.
Note that the shafts are not monolithic, but rather are composed of tall drums mortared together. This technique of modular column construction is an ancient one that goes back to classical Greece and no doubt even farther.
Regarding the stone itself, the Salem has many virtues, but its finely granular texture does not permit high-gloss polishing. Nevertheless, it can be shaped, carved, and smooth-sawn very readily. Here the flat and buff-colored stone surfaces impart the perfect stately-and-restrained effect.
The Salem, known in the building trades as "Bedford Stone" and "Indiana Limestone," is quarried in southern portion of the Hoosier State. Petrologically speaking, it's a grainstone and biocalcarenite composed of small fossils (whole forams and invertebrate fragments) in a matrix of calcite cement. It formed in a warm, shallow-marine environment of lagoons and tidal channels in the Mississippian (Lower Carboniferous) subperiod, some 340 Ma ago. At that point, much of the American Midwest was covered by an epeiric (continent-covering) sea.
For more on this site, get and read Chicago in Stone and Clay, described at its Cornell University Press webpage.
The other photos and discussions in this series can be found in my "Chicago in Stone and Clay" Companion album. In addition, you'll find other relevant images and descriptions in my Architectural Geology: Chicago album.
Looking southwestward at the bank's facade (northeastern elevation). Supposedly it was in this spot that architect Louis Sullivan sat on the curb and chain-smoked cigarettes while he sketched this building's design.
This shot gives at least a little bit of neighborhood context. But note that the black bank addition at left was subsequently replaced by a similarly inconsequential mass faced in buff-colored brick.
Of the eight Sullivan jewel-box structures that grace small Midwestern communities, I have visited seven. And on entering each one of them I've been met by friendly people—bank officers, Chamber of Commerce officials, and so forth—who have been only too happy to let me wander about, photograph interesting details, and examine original blueprints stored in their archives. They've patiently answered my questions and amiably chatted about everything from their site's construction history to how the local weather has been treating the current corn and soybean crop. All that, even though I had no intention of opening a checking account or starting up my own business in town. Try finding that welcoming attitude in suburbia or the big city.
The fact is that these folks are proud of their towns, and especially proud that their towns have one of Sullivan's miniature masterpieces. Der lieber Meister has put them on the map. And that's especially true, I sense, in Columbus.
There, over the years, the bank management has kindly let me parade several tour groups through the interior, and up onto the mezzanine to take in the view. These tours were primarily about botany and geology al fresco, but this stop was often deemed the participants' favorite of the entire itinerary.
So far I've been able to source the two main building materials for the Farmers & Merchants Union Bank, but a major mystery remains. The one stone element, the dark green panel on which the name is emblazoned, was inadequately described by early Sullivan biographer Hugh Morrison as "a polished slab of verde antique marble." That jumble of Italian, French, and English terms is Architectural-Historian-Speak for the exotic metamorphic rock serpentinite, or its brecciated variant, ophicalcite.
These striking stone varieties began as the upper-mantle constituent dunite, an ultramafic igneous rock that was later altered by contact with water and bulldozed from a subduction zone or ocean basin onto a continental margin. The problem is that stone closely resembling the one shown here has been quarried in Vermont, Pennsylvania, Maryland, Georgia, the French Maritime Alps, northern Italy, Tuscany, and the Greek Aegean. And no doubt elsewhere as well.
I'd like to think that the bank's serpentinite is the variety produced in the Green Mountain State town of Rochester (Vermont Serpentinite, marketed as "Vermont Verde Antique"). But so far I have no provenance. My second guess would be one of three ophicalcites that are its southern-European look-alikes: the Maurin, the Aosta Valley, and the Polcevera. All of these were widely employed in early-twentieth-century American architecture.
Fortunately, the striking, spotted-pale-green terra-cotta is well documented; it was fabricated by the American Terra Cotta Company based in McHenry County, Illinois. Its basic source clay came from Lemont Formation glacial till, of late-Pleistocene age, mined on site. And English ball clays, probably from Cornwall, were used in the formulation of the glaze.
While the final and most extensive material is not so well sourced, I do have one reliable reference that avers it's Crawfordsville Brick. Already discussed in my posts on the Purdue National Bank, it was made in Crawfordsville, Indiana from Mississippian-subperiod (Lower Carboniferous) shale or siltstone of the Borden Group.
Photos to follow in this set will show these materials at closer range and in greater detail.
The other photos and descriptions of this series can be found in my Geology & Botany of the Sullivan Jewel Boxes album.
(Updated on May 14, 2024)
This series complements my recently published guidebook, Milwaukee in Stone and Clay: A Guide to the Cream City's Architectural Geology. Henceforth I'll just call it MSC.
The MSC section and page references for the site featured here: 7.5; pp. 172-173.
Facing east-southeast.
Forest Home Cemetery, one of America's great landmark burial grounds, boasts many ornate mausolea. But this final resting place for one of Milwaukee's famous beer barons and his family is the most flamboyant of them all. It's made of what is arguably the best known and widely used of monumental stones quarried in this country—Vermont's Barre Granodiorite, better known in the trade as "Barre Granite."
Devonian in age, the Barre comes from a mass of magma emplaced in the upper crust approximately 368 Ma ago, during the mountain-building event geologists refer to as the Acadian Orogeny. Petrologists consider this rock type a granodiorite because most of its feldspar content is in the form of plagioclase rather than alkali feldspar. Normal granites have a more equal mixture of the two feldspar types.
The Barre Granodiorite is a fine-grained, light-gray stone that is very resistant to deterioration, as is evidenced by the crispness of its carved ornamental details here after almost thirteen decades of exposure to the Cream City's unforgiving climate.
This site and many others in Milwaukee County are discussed at greater length in Milwaukee in Stone and Clay (NIU Imprint of Cornell University Press).
The other photos and discussions in this series can be found in my "Milwaukee in Stone and Clay" Companion album. Also, while you're at it, check out my Architectural Geology of Milwaukee album, too. It contains quite a few photos and descriptions of Cream City sites highlighted in other series of mine.
I Photographed Conrad Yelvington CYXX Number 2108 and Conrad Yelvington CYDZ Number 239 in a Siding parallel to the main CSX Track just South of the CSX Yard in Wildwood, Florida.
CYXX 2108 is an EMD GP30M (aka: Rebuilt GP30), which was Built for the Baltimore & Ohio Railroad in November 1962.
It's Heritage is as follows: Conrad Yelvington #2108, ex CSXT #6931, exx Alabama & Gulf Coast Railroad (aka: AGR), nee: B&O #6931.
CYDZ 239 is an ALCO S2m, which was Built in June 1946 as Ontario Northland #1202. It's Heritage is as follows: Conrad Yelvington #239, ex IMC-Agrico #202, nee: Ontario Northland #1202.
There is a Wye here, which connects to the CSX Track which crosses Main Street (aka: US Route 301) on a CSX Track which went West to was used to go West towards Leesburg (Paralleling Sumter County Road 44A) where Surplus Freight cars were stored during the last Real Estate Recession. That Spur Track was later removed and now ends near Phillips Lane in Wildwood.
(Last Updated on February 2, 2025)
This new series complements my recently published guidebook, Milwaukee in Stone and Clay: A Guide to the Cream City's Architectural Geology. Henceforth I'll just call it MSC.
The MSC section and page references for the building featured here: 5.11; pp. 74-76.
Looking southwestward at the E. Wisconsin Avenue facade,
My book's title notwithstanding, the list of geologically derived building materials extends beyond those made of stone and from clay. The Iron Block, one of the Juneau Town neighborhood's most venerable office buildings, is a good demonstration of that.
This priceless exemplar of Civil-War-era architecture features, on its northern and western elevations, Venetian-Renaissance facades of cast iron forged in New York City and then shipped to Milwaukee by Great Lakes schooner.
Before the development of the great iron ranges of the Lake Superior region in the late 1800s, most American iron ore was mined from coastal bog-iron deposits and then, increasingly, from inland sedimentary deposits rich in iron-oxide minerals.
Unlike wrought iron, also widely used in nineteenth-century architecture, cast iron has a relatively high carbon content and requires complete melting and setting in molds.
The Iron Block is also notable for its use of the inverted-arch type of foundation under its cast-iron facades. This unusual method of supporting a building's superstructure, with downward-pointing arches of brick set between stone piers, was thought to the best solution for waterlogged and unstable substrates. Downtown Milwaukee's is certainly a good example of that. There up to 170 ft (52 m) of oozy fluviatile and glacial sediments blanket the Silurian dolostone bedrock.
This site and many others in Milwaukee County are discussed at greater length in Milwaukee in Stone and Clay (NIU Imprint of Cornell University Press).
The other photos and discussions in this series can be found in my "Milwaukee in Stone and Clay" Companion album. Also, while you're at it, check out my Architectural Geology of Milwaukee album, too. It contains quite a few photos and descriptions of Cream City sites highlighted in other series of mine.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This is a series of 10 photos about Red Fox Farm) Approximately 2 miles north of Skipwith, Mecklenburg County, Virginia is Red Fox Farm, part of which is visible from the highway. All images were taken from the shoulder of the road and restricted me to the beautifully maintained tobacco barns. The farm is an excellent example of late 19th and early 20th centuries tobacco farm in Southside Virginia. Robert Jeffreys acquired the property about 1887-1888 and introduced the flue-curing technique of curing tobacco to the region. He focused on growing bright-leaf tobacco, used mainly in cigarettes. The dark-leaf previously grown in the area was used for chewing tobacco. There are five tobacco or curing barns on the property, dates unknown, all are about 18' square with a single opening where tobacco was hung to dry inside. Four barns also have an open shed. Unskinned logs were the building material, approximately 8 inches in diameter. The gaps between the logs were chinked with clay and sticks (see image 6 in this series). The gable roofs have metal roofs. The setting is picturesque with many standing trees contributing to the aesthetics. The farms economic and historical significance and the well-preserved outbuildings typical of the times justified inclusion on the National Register of Historical Places June 10, 1993 with ID #93000508
See the National Register nomination form (in pdf format) for an informative discussion of tobacco growing and curing at the Virginia Department of Historic Resources
www.dhr.virginia.gov/VLR_to_transfer/PDFNoms/058-0131_Red...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Old wooden door with a metal knocker and letter slot - wonderful texture. The door has little metal studs. On the side, there is a modern door bell and intercom. Exposed brick and pipes and a stone arch complete the picture.
Please don't use this image on websites, blogs or other media without my explicit permission.
© rogerperriss@aol.com All rights reserved.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
Ceiling and wall detail of Istanbul's stunning New Mosque. The New Mosque or Mosque of the Valide Sultan is an Ottoman imperial mosque located in the Eminonu district of Istanbul, Turkey.
From Information provided by Kew Gardens:
"Opened on International Biodiversity Day 2008, the Treetop Walkway stands in the Arboretum, between the Temperate House and the lake. It was designed by Marks Barfield Architects, who also designed the London Eye. The 18-metre high, 200-metre walkway enables visitors to walk around the crowns of lime, sweet chestnut and oak trees. Supported by rusted steel columns that blend in with the natural environment, it provides opportunities for inspecting birds, insects, lichen and fungi at close quarters, as well as seeing blossom emerging and seed pods bursting open in spring. The walkway’s structure is based on a Fibonacci numerical sequence, which is often present in nature’s growth patterns."