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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.
Isalo National Park, Madagascar
This is the temporary cuffin of a child from the Bara ethnic group.
According to the Famadihana tradition, the bodies of the dead are put into a temporary tomb, then after a few years a ceremony takes place and they are transferred into a definitive tomb in a much more inaccessible place.
These temporary tracks were used for the delivery of the fully-restored Frisco 4500 steam locomotive to a track segment that serves as a permanent exhibit home for the engine. These tracks were removed the following day, 5 June 2011, after the train was delivered. Tulsa, OK
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We have a fantastic & beautiful selection of transfer tattoos that are skin safe, can be applied using only water and last up to 5 days on the skin. We have a selection of symbols, bands and glitter transfer in a large variety of colors and designs. Great for a night out or a special event or party. Get some for your hen or stag parties!
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London Chinatown 唐人街 Gerrard Street Pedestrianized Outdoor Seating COVID-19 Coronavirus Temporary Restrictions with Sopie from Côte d'Ivoire Out on the Town
This pair of Peregrine Falcons have stopped restoration work on one of the West Towers of York Minster. This is a tight crop of a long shot from the top of the main tower so the quality is not the best but I was impressed by the birds willingness to make a home out of the scaffolding.
#11 Dwelling Place for 118 pictures in 2018
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First London recently put a batch of new Wright Gemini2-bodied Volvo B9TLs in to service on route 23, as typified hereby VN37959 seen here departing Liverpool Street Station for the run to its home garage of Westbourne Park during the afternoon of Tuesday 8th May.
It turns out these were a temporary measure, as a batch of Enviro400 Hybrids is now being delivered for route 23; indeed the first examples have now entered service. As the Volvos are displaced they will move over to North Acton, ready for when First takes over route 266 (Hammersmith - Brent Cross) from Metroline on 19th May. More Hybrids are due in September to complete the process, with the remaining Volvos moving over to route 295.
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For a festivity a historical train is now to drive into the market lane on this new rails. Altstätten, Switzerland, Aug 10, 2007.
Jonathan Hodgson combines his skills not only as a great artist but applies these talents to creating functional and custom arrows and some of which are art pieces.
His custom-made arrows are created to suit the archer's bow, draw length and draw weight in lbs, and the type of archery they do, and personal preferences for colours and styles, etc.
His art arrows are built with Form in mind more than Function.
Detail Shot Of Arrow And Glove
They still work, but they're made more for display and as an expression of his art and craft, with inspiration from various historic or fantasy cultures, and so look good on the wall or a custom-built stand.
He also repairs and restores arrows for archers and collectors, in traditional and modern materials.
The materials he uses for the shafts are mainly woods: including cedar, Scots pine, spruce, and ash in particular.. but I also now uses cherry, maple, iroko, hazel, walnut, and others for some arrows.
Preparing The Arrow Shaft
He hand carves and shapes the neck of each arrow, so that it grips the string tightly for use, and will occasionally reinforce it with a sliver of horn or similar material if it's for a powerful bow.
Any artwork, embellishments, motifs, designs, archer initials, numbers for competition etc are drawn on by hand in Indian ink and/ or acrylic paint which was amazing to see in the flesh.
Jonathan Painting In Fine Detail On A Custom Made Arrow
Feathers tend to be a goose, turkey, and gull-wing quills, which I shape by hand to varying degrees and lengths to suit. Feathers are lightly glued into position, before being spiral bound in a choice of threads from traditional to modern: namely silk, linen, metallic cotton, and kevlar, or a blend of the above in various colors.
Attaching The Feathers
The points are normally steel or brass machined and matched in weight to balance the arrow for use, and designed for easy removal from targets.
More elaborate or historic arrows will have hand-forged iron points, in broadhead, barbed, or armor-piercing bodkin styles. Alternatively, he now also uses hand-knapped points from semi-precious stones, including rose quartz, crystal, obsidian and opalite etc.
Checking The Arrow Head
The finished arrow is normally protected with layers of varnish lacquer, wax, or oil. Where possible, and say he is mindful to use processes and materials which are as eco friendly, and sustainable as possible.
Jonathan Checks The Arrow
Jonathan’s interest in archery and arrow-making started in his childhood.
He explained …
I grew up in Tatworth near Chard, in Somerset. Soon after I was born my parents had bought part of a large old historic former farmhouse along with an acre of rough overgrown orchard land.
My brother Tim and I loved to spend as much time as we could in what felt like this vast wilderness, and we would often make 'bow staves' from sticks, bamboo canes, and the plastic handles of fishing nets...and then the arrows from bamboo canes with cereal box card fletchings... and then mad roof slate points, broken into triangles and taped onto the ends.. a crude attempt at an arrow, but an arrow nonetheless!
I was always fascinated by the legends of Robin Hood, the Tolkien mythology, and medieval history, and my eye was always drawn to the archers, their bows and arrows in movies and books generally!
I've always had several specific passions in life, alongside archery: martial arts, animal welfare, drawing, painting, writing and creative arts, bushcraft, camping and survival skills, and love for nature and wildlife surrounding us in Somerset.
Jonathan Deep In The Wood With Bow At The Ready
These things all seem different yet very complementary.
My interest in archery and the great outdoors was always there throughout my childhood, and as a 6th Form Design Technology Student in 2002, I built a proper 3 piece takedown archery kit; a recurve bow, including 6 wooden arrows.
These were my first 'real' functional arrows and looked like the kind you could buy in sports shops. Soon after this time, I got more seriously into the pastime and soon joined Windwhistle Company of Archers, based in South Somerset near Cricket St Thomas.
Their ethos being focused on more traditional/historical kits, using mainly wood rather than plastics really appealed to me, and as the arrows you could buy ready-made were usually expensive and not very interesting to me, I decided to build my own.
Resting Place In Wood
So with the guidance and advice of some great lifelong experienced archers, including the late, great Bob Gray, I started the journey that would lead me to become a professional Fletcher, which to this day I continue from my Art Studio at The Millhouse Arts Centre in Ilminster.
It would be remiss of me not to mention my late mentor, Jim Perry, an elite military veteran, outdoors expert, and pro-Fencing Coach, based in Burnham on Sea, who really guided and inspired me to follow my dreams on all fronts, and believe in myself.
I just feel lucky every time I see a deer, fox, bird of prey, or badger etc..and firmly believe all these animals should be properly protected from those who would misguidedly or selfishly harm them. I do have some respect for the bow shooting, true hunters of the world, for example, the San, the Sami etc....but I have no time for the sport/trophy wannabe hunters we see here.
Jonathan Enjoys A Quiet Moment In Late Afternoon Sun.
I truly believe our county is the best part of the country in which to live, and one reason is the diversity of flora and fauna, of which all of us who dwell in Somerset, are temporary custodians. We should therefore respect, treasure, protect and celebrate it; and every time we step out into our local wilderness remember we are the guests, and fortunate to be a part of it.
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Ex-Caledonian Sleeper 10544 sits in the Horse Landing sidings at Crewe. The coach is destined for a road move to a heritage railway to be used as volunteer accommodation once the weather improves.
Hand of God sculpture by Lorenzo Quinn, temporary exhibition at Parc de la Mola, Escaldes, Andorra, Pyrenees
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