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Serpentine Gallery Pavillion 2017, text from website copyright of serpentinegalleries.org
Summary
Diébédo Francis Kéré, the award-winning architect from Gando, Burkina Faso, was commissioned to design the Serpentine Pavilion 2017, responding to the brief with a bold, innovative structure that brings his characteristic sense of light and life to the lawns of Kensington Gardens.
Kéré, who leads the Berlin-based practice Kéré Architecture, is the seventeenth architect to accept the Serpentine Galleries’ invitation to design a temporary Pavilion in its grounds. Since its launch in 2000, this annual commission of an international architect to build his or her first structure in London at the time of invitation has become one of the most anticipated events in the global cultural calendar and a leading visitor attraction during London’s summer season. Serpentine Artistic Director Hans Ulrich Obrist and CEO Yana Peel made their selection of the architect, with advisors David Adjaye and Richard Rogers.
Inspired by the tree that serves as a central meeting point for life in his home town of Gando, Francis Kéré has designed a responsive Pavilion that seeks to connect its visitors to nature – and each other. An expansive roof, supported by a central steel framework, mimics a tree’s canopy, allowing air to circulate freely while offering shelter against London rain and summer heat.
Kéré has positively embraced British climate in his design, creating a structure that engages with the ever-changing London weather in creative ways. The Pavilion has four separate entry points with an open air courtyard in the centre, where visitors can sit and relax during sunny days. In the case of rain, an oculus funnels any water that collects on the roof into a spectacular waterfall effect, before it is evacuated through a drainage system in the floor for later use in irrigating the park. Both the roof and wall system are made from wood. By day, they act as solar shading, creating pools of dappled shadows. By night, the walls become a source of illumination as small perforations twinkle with the movement and activity from inside.
As an architect, Kéré is committed to socially engaged and ecological design in his practice, as evidenced by his award-winning primary school in Burkina Faso, pioneering solo museum shows in Munich and Philadelphia.
Serpentine Pavilion Architect's Statement:
The proposed design for the 2017 Serpentine Pavilion is conceived as a micro cosmos – a community structure within Kensington Gardens that fuses cultural references of my home country Burkina Faso with experimental construction techniques. My experience of growing up in a remote desert village has instilled a strong awareness of the social, sustainable, and cultural implications of design. I believe that architecture has the power to, surprise, unite, and inspire all while mediating important aspects such as community, ecology and economy.
In Burkina Faso, the tree is a place where people gather together, where everyday activities play out under the shade of its branches. My design for the Serpentine Pavilion has a great over-hanging roof canopy made of steel and a transparent skin covering the structure, which allows sunlight to enter the space while also protecting it from the rain. Wooden shading elements line the underside of the roof to create a dynamic shadow effect on the interior spaces. This combination of features promotes a sense of freedom and community; like the shade of the tree branches, the Pavilion becomes a place where people can gather and share their daily experiences.
Fundamental to my architecture is a sense of openness. In the Pavilion this is achieved by the wall system, which is comprised of prefabricated wooden blocks assembled into triangular modules with slight gaps, or apertures, between them. This gives a lightness and transparency to the building enclosure. The composition of the curved walls is split into four elements, creating four different access points to the Pavilion. Detached from the roof canopy, these elements allow air to circulate freely throughout.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
NASA Administrator Charles Bolden, seated right, shakes hands with Johann-Dietrich Wörner, Chairman of the Executive Board, German Aerospace Center (DLR), after signing a Framework Agreement on cooperation in aeronautics and the exploration and use of outer space for peaceful purposes, Wednesday, Dec. 8, 2010, at NASA Headquarters in Washington. Photo Credit: (NASA/Paul E. Alers)
Schematically, the Mediterranean Sea comprises three main water masses (EEA and UNEP 1999): • the Modified Atlantic Water (MAW), found in the surface layer, with a thickness of 50–200 m and characterized by a salinity of 36,2 psu (practical salinity units) near Gibraltar to 38,6 psu in the Levantine basin; • the Levantine Intermediate Water (LIW), formed in the Levantine basin, lying in depth between 200 and 800 m, and characterized by temperatures of 13–15,5°C and salinity of 38,4–39,1 psu; • the Mediterranean Deep Water (MDW), formed in both the Western and Eastern basins. The Western Mediterranean Deep Water (WMDW) is characterized by a temperature of 12,7°C and a salinity of 38,4 psu, while the Eastern Mediterranean Deep Water (EMDW) is characterized by a temperature of 13,6°C and a salinity of 38,7 psu.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: GRID-Arendal
From the Altimeter report "Content Marketing Software RFP: A Framework to Determine Needs & Solicit Proposals." Download the full report at: www.altimetergroup.com/content-marketing-software-rfp
Lab2014 students presented their final design explorations for Benjamin Bratton's Critical Frameworks section, "2 or 3 Things I Know About The Stack" at The California Institute for Telecommunications and Information Technology (Calit2) at UCSD. The group visited an immersive 3-D projection "CAVE", a 4K digital theater and the nanotech cleanrooms on campus, as well as The Salk Institute for Biological Studies.
The allenburg bridge on the st. lawrence seaway. Taken while I was waiting for a ship to pass under.
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Lab2014 students presented their final design explorations for Benjamin Bratton's Critical Frameworks section, "2 or 3 Things I Know About The Stack" at The California Institute for Telecommunications and Information Technology (Calit2) at UCSD. The group visited an immersive 3-D projection "CAVE", a 4K digital theater and the nanotech cleanrooms on campus, as well as The Salk Institute for Biological Studies.
Sláva Zaitsev Fashion House
A unique fashion show by Russian and Czech designers took place on 20th February 2015 in Moscow within the framework of the international "Sláva Zaitsev Fashion House" project with the support of the Embassy of the Czech Republic in the Russian Federation.
The main idea for this event was to bring together a European and a Russian view of contemporary fashion on one stage. Some of the models by the legendary Russian designer, Sláva Zaitsev, and the popular Czech representative of the fashion world, Beata Rajská, were uniquely supplemented with jewellery made from seed beads from the PRECIOSA Traditional Czech Beads range, the designers of which were Aleksandra Lysenko and Natálie Škodová.
Synthesizing a number of sources both Stephanie and I enjoy learning with and from. This model is informed by the work of Beth Kanter, Chris Brogan, colleagues at CPSquare and the Native teachings of the late Paula Underwood. Our most solid framework so far :o) Comments and insights are most welcome.
The Kédougou region, in the south-east of Senegal, has important deposits of gold. Mining is both corporate and community driven and I visited one mining area, run by the Tomboronkoto community. HIstorically artisanal mining dominated but Senegal changed its legal/regulatory system early in this millenium to encourage international investment. Next to the entry of corporate miners this seems to have encouraged a far more active artisanal activity, with miners coming from neighbouring countries (Mali, Burkina Faso, Guinea etc) and remitting cash back to their homelands. In fact most of the artisanal miners I spoke to were not Senegalese but were there with the permission of the village.
There are reports that this growth in mining, while providing valuable cash for the local area, has had some disadvantages: there have been bloody fights between miners (although other reports say there is now an operating framework that has reduced some of the friction), an increase in prostitution and STIs and, perhaps most importantly for the local community, the environmental impacts of mercury usage, reduced availability of clean water and a destruction of agricultural land.
Maritime transportation and aquaculture are the main ways non-indigenous species enter the Western Basin of the Mediterranean. Migration through the Suez Canal is responsible for most non-indigenous species in the Eastern Basin.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: GRID-Arendal
The framework is the skeleton of the box channel mold. 4 allthread rods hold the MDF rectangles together.
www.parino.it/antique-oil-painting-frame-signed-romantic....
COD: 7230
Antique Italian painting of the late 19th century. Work oil on canvas depicting a pleasant romantic scene with characters of excellent pictorial hand. Painting signed at the bottom right "L. Clara" (see photo), for antiques dealers and collectors. Painting of great measure and impact with wood and plaster frame, carved and gilded, with some minor lacks of decoration (see photo). Overall in good conservative state, with some signs of the time. Sight size: H 81 x W 101 cm.
H 96 x W 117 x D 5 cm
#antiques #antiquities #painting #art #oiloncanvas #romantic #framework #frame #gold
October 2015 : African veterinary para-professionals call for renewed framework to engage with the veterinary profession and for enhanced involvement in veterinary matters across the African continent.
Pretoria, South Africa
More information : www.rr-africa.oie.int/en/news/20151015.html
Picture (c) Marina Domingos - Monsonis (oie) 2015