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Two men renovate a butcher shop while a vibrant mural of an Indigenous figure and parrot adorns the wall. Construction materials and tropical colors blend into the rhythm of daily life in the Amazonian town.
Deux hommes rénovent une boucherie pendant qu’une fresque vive d’un visage indigène et d’un perroquet colore le mur. Matériaux de chantier et teintes tropicales s’intègrent au rythme du quotidien dans la ville amazonienne.
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.
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. “
A young girl who is about 10 or 11 stands against a mud brick wall in the warm glow of the late afternoon sun. She is wearing a blue, yellow and black hijab and a brown shirt. She has a contented and calm smile on her face. She lives in a small village near the city of Mojen in Semnan Province, Iran. Photo taken on August 8, 2008.
Three Muslim women standing at back entrance to the Shah (Imam) Mosque in Esfahan.
Imam Mosque stands at the south side of Naghsh-i Jahan Square. Built during the Safavid period, it is an excellent example of Islamic architecture of Iran, and is one of the masterpieces of Persian Architecture. It is registered, along with the Naghsh-i Jahan Square, as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-colour mosaic tiles and calligraphic inscriptions.
Photo taken on August 20, 2007 outside the back entrance to Imam Mosque, Isfahan, Iran.
Stairs that widen up towards the top, fooling the eye on length and steepness of ascension / descension.
JKMM Architects / OP Financial Group's Headquarters / 2015
VSCO preset: Ektar 100+
Transformation du Grand Hôtel de la Reine dans le Pavillon Alliot en hôtel 5 étoiles.
Le projet comprend la reprise des fondations, la restauration des façades, ainsi qu'un réaménagement de l'intérieur et la création d’un spa.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Centre
Adresse : place Stanislas
Construction : 1751 → 1755
▻ Architecte : Emmanuel Héré
Rénovation : 2024 → 2026
▻ Architectes : Pierre-Yves Caillaut ACMH / L'Atelier DH
Autorisation de travaux n° AC 054 395 23 00017
▻ Délivrée le 14/09/2023
Permis de démolir n° PD 054 395 23 00039
▻ Délivré le 03/01/2024
Déclaration préalable n° DP 054 395 23 01660
▻ Délivré le 15/01/2024
Permis de construire n° PC 054 395 23 00051
▻ Délivré le 24/01/2024
Niveaux : R+2
Hauteur : 21,66 m
Surface de plancher totale : 4 570 m²
▻ Surface de plancher avant travaux : 8 652 m²
Superficie du terrain : 1 165 m²
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
Wolfgang Buttress's UK pavilion for the World Expo 2015 in Milan, relocated to Kew Gardens in June 2016
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...
In the early morning a Pakistani Pashtun man who works as a laborer in a brick kiln pauses to have his photo taken. He is holding a shovel (spade). Poverty and child labour is pervasive among workers in brick kilns in South Asia. Horses and donkeys also suffer badly. Peshawar alone has approximately 450 brick kilns. Photo taken on February 27, 2008 in Peshawar, Khyber Pakhtunkhwa, Pakistan.
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."
For ODC - Stain
I woke up really early this morning and used my telescope to snap a picture of this stain on the universe as it passed by in the heavens.
No, wait. My mistake. This is really a picture of a rust stain on my driveway. Sorry about that....
RAW conversion in Lightroom, then into Photoshop to invert the colors. I used a hue/saturation adjustment layer to convert the color of the "comet" from blue to yellow.
An Indian male railroad worker wearing a turban stands between a pile of rubble, including bricks, and some railway tracks. Behind him as a locomotive and a platform. Photo taken on September 18, 2008 in Delhi, India.
While looking directly into the camera, a young Palestinian girl stands at the top of the staircase leading to her home in the West Bank city of Hebron in the Occupied Palestinian Territories on June 14, 2005.
An advert from the 1934 edition of "Specification", issued annually by the Architectural Press and containing an index of building and construction subjects, relevant specifications along with allied contractors and materials. This advert is for the Empire Stone Co Ltd., whose prestigious address is in the Starnd, London, but whose main manufacturing base was in Narborough, Leicestershire.
The company had been formed in 1900 and was an early example of a plant mass producing concrete and reinforced concrete components for buildings. As may be gathered they sort of tried to 'hide' the concrete element by claiming the nomenclature of "Empire Stone" to grace the product. They produced vast amounts of such items and were indeed involved in many thousands of prestigious construction projects until they closed down in 1990 - the MI5 building at Vauxhall being one of their last.
The advert shows specific municipal constructions of the inter-war years when a stripped 'neo-Georgian' was in vogue, especially for such buildings. They include;
Worthing Town Hall by C. Cowles-Vosey FRIBA
Clacton - on - Sea Town Hall, Essex, by Sir A Brumwell Thomas FRIBA
Poole's Municipal Offices in Dorset by E S Goodacre Assoc. M.Inst.C E.
Bournemouth Pavilion by Home and Knight FFRIBA
Cambridge County Offices by C H Riley FRIBA
Aylesbury County Offices by C H Riley FRIBA.
Glamorgan County Hall, Cardiff, by Ivor Jones and Percy Thomas.
There's some fine buildings there and msot are now Listed - and quite a role call of well known architects and designers of the period.
The New York State Pavilion ruins stand silent at night while a jet streaks by overhead on it's approach to LGA.
1 minute, 9 seconds at f8, ISO 100
Image © Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to license this image for any purpose, please visit my site and contact me with any questions you may have. Please visit Susan Candelario artists website to purchase Prints Thank You.
Given the scarcity of trees above 11,000 feet and the limitations of eucalyptus, the most abundant tree species in the area, as a building material, sun-dried mud bricks are frequently used to make Quechua Indian dwellings in the Andes of Peru.
Construction de l'ensemble immobilier Au Jardin des Arts comprenant 41 logements dans 2 bâtiments.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Moselle (57)
Ville : Metz (57000)
Quartier : Nouvelle-Ville Metz
Adresses : avenue André Malraux / rue Sturel Paigné
Fonction : Logements
Construction : 2022 → 2026
▻ Architecte : Thierry Hamamm
Permis de construire n° PC 57 463 20 X0095
▻ Délivré le 12/08/2021
Niveaux : R+5
Hauteur : 19,25 m
Surface de plancher : 3 105, 91m²
Surface du terrain : 2 558 m²