The 2015 Serpentine Pavilion has opened to the public in London's Kensington Gardens. The psychedelic, worm-like structure was designed by SelgasCano, a husband-and-wife team based in Madrid, and features translucent ETFE panels that are wrapped and woven like webbing. The architects said the pavilion's design is partially inspired by the chaos of passing through the London Underground. "We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, color, and materials," said the firm in a statement. "We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the pavilion only unfold when accessing the structure and being immersed within it. Each entrance allows for a specific journey through the space, characterized by color, light, and irregular shapes with surprising volumes. " If you're not going to make it to see the pavilion before it closes on October 18, be sure to check out the gallery below.
Posts tagged with "pavilions":
The City of Atlanta has announced a competition for the design of an outdoor cultural pavilion for prominent display on the Westside trail of the Atlanta BeltLine. The BeltLine is the most comprehensive transportation and economic development ever undertaken by the City of Atlanta, and among the largest urban redevelopment programs in the US, providing affordable workforce housing, brownfield remediation, public art, and historic preservation. The National Pavilion Design Competition seeks designs for the second pavilion in a series of small, multi-purpose artistic pavilions occupying green spaces along the BeltLine as part of the Art on the Atlanta BeltLine program, which represents the South’s largest outdoor temporary art exhibition. The culture-conscious platform engages hundreds of artists to display visual and performing arts in the parks and along the trails of the BeltLine. The pavilion’s prospective location at the intersection of the Westside trail and Allene Avenue poises it to become an iconic landmark for the Adair Park community and its surrounding historic neighborhood. In the spirit of fostering community gathering, the Atlanta BeltLine is also seeking designs for a permanent performance space at Adair Park. Design-wise, the facility should represent the quality art and architecture which the BeltLine strives to embody. The competition is seen to straddle the fields of art, architecture, landscape architecture, and the pedestrian experience, as well as provide a catalyst for economic development. “This competition demonstrates that small yet exceptional design can offer huge benefits for Atlanta communities,” said Melody Harclerode, President of AIA Atlanta and manager of the National Pavilion Design Competition. The only eligibility requirement is that an individual or team member be a licensed architect holding active AIA membership. The first place winner stands to receive a $10,000 cash prize, while a $5,000 and $3,000 prize are up for grabs for the second and third place winners respectively. The competition represents a partnership between AIA Atlanta, Atlanta BeltLine Inc., and the City of Atlanta Mayor’s Office of Cultural Affairs.
The motto of Houston architecture, civic art, and product design firm METALAB is "finding new and better ways to build things." In addition to forming the core of his professional practice, this mission aptly describes principal Andrew Vrana's work with the Texas digital design and production network TEX-FAB. "We align emerging designers working with contemporary digital design techniques with companies who are experts in digital fabrication to build experimental architectural assemblies that push the capabilities of all parties," he explained. At next week's Facades+AM Houston symposium, Vrana will share his perspective on new techniques and materials in high performance building envelopes through the lens of TEX-FAB's annual design and fabrication competition. The theme of each TEX-FAB competition reflects the community's commitment to exploding the limits of conventional architecture practice. "We have recently been interested in materials that allow for plasticity in form and performance," said Vrana. Hence the title of the 2014 competition, PLASTICITY. The winning project, by computational design specialist Justin Diles, is called Plastic Stereotomy, and explores the use of composites in construction. After taking first prize in the small-scale prototype round, Diles teamed up with Kreysler & Associates to build a full-scale pavilion for this year's TEX-FAB conference in Houston. (The pavilion also traveled to the AIA convention in Atlanta.) Past competition winners have similarly paired with industry experts to bring their concepts to fruition. For the 2013 SKIN competition, for instance, TEX-FAB put the winning team—a group associated with the University at Buffalo, with materials sponsor Rigidized Metals—in touch with Zahner "to construct an innovative facade prototype using patterned sheet metal folded into complex origami-like modules," explained Vrana. Hear more about TEX-FAB's approach to digital design and fabrication at Facades+AM Houston June 18. Register today and see a full list of presenters on the event website.
Winner of the 2015 Street Architecture Prize Competition proposes spot-on initiative for “consensus-based” architecture
The 2015 Street Architecture Prize Competition recently announced a winner: a temporary public installation made of Geofoam blocks, whose potential extends beyond its built form. Foamspace by architecture collaborative SecondMedia is a series of structures built from the lightweight, expanded polystyrene foam, often confused with Styrofoam. As crucial as mortar though equally invisible, these Geofoam blocks typically fill voids below highways, bridge approaches, embankments and parking lots. They are also used for insulation, sound-proofing, and in shallow foundations. Adopting the theme of this year’s IDEAS CITY Festival: The Invisible City, the project seeks to put these normally invisible blocks at the forefront as they form walls, workshop spaces, corridors, and benches. There will be designated spaces for debate, a stage for performances and an urban lounge for relaxation. In its third edition, The Street Architecture Prize Competition continues to honor designs that propose unique, temporary outdoor structures presenting fresh takes on public gathering. Foamspace, however, will be on view for less than 24 hours. In light of Mayor DeBlasio’s ban (effective July 1) on single-use Styrofoam, also a type of expanded polystyrene foam, the fleeting installation seems to tread the fine line of “single-use.” However, the Geofam blocks will be sold at market price at the end of the festival to pool funds for further architectural projects—therein lies the project’s innovation. Users can register for a digital wallet on the project's website, Foam.Space, to receive a "Foamspace Coin." This coin is a badge of membership in the Foamspace community, in which partakers can vote for, propose, and fund architecture ideas for “consensus-based” building projects in direct response to community demand. “The Geofoam blocks become a visual metaphor for the Bitcoin Blockchain,” Foamspace writes on its website. As soon as the ball gets rolling, the success of each project and publicity generated adds value to the Foamspace Coin, potentially increasing the number of funders and community members on board to make architecture a democratic practice. Foamspace will premiere on the streets of New York City on May 30, together with 100 other selected projects.
SoftLAB 3D prints a kaleidoscopic pavilion for 3M at SXSW 2015 that showcases colorful dichroic film
A household name in resilient scotch tape and self-adhesive velcro, 3M wowed the crowd at South by Southwest 2015 (SXSW) with a 3D-printed pavilion awash in kaleidoscopic colors, with every inch of the structure designed to showcase a 3M product at work. SOFTlab collaborated with 3M and BBDO to create the pavilion, a continuous modular structure made from powder-coated aluminum pipes, which assembled within minutes. The easy-build structure was composed of over 1,200 unique 3D-printed joints and sockets with a rotating snap, so that even the proverbial monkey could rise to the occasion. Overhead, more than 3,000 3M cable ties were used to construct the display and bar elements, as well as the complex dichroic ceiling. Responsible for the phosphorescent glow of shifting color, like the inside of a soapy bubble, was the exterior clad in custom Scotchlite fabric held together with zippers—one of the only times the retroreflective material has been deployed on an architectural scale. These panels of material reflected the highly saturated colors generated by 3M’s dichroic film-a-thin-filter, which creates saturated hues from light. An all-white interior played up the colors even more, coated in a glossy white di-noc laminate, an architectural finish by 3M. Meanwhile, a dichroic film laminate on the acrylic cladding of each crystalline-shaped column added to the glimmering quality of the interior, and flooded the visitors in color. The clever intricacies of the structure plunged visitors into the world of material science, a domain in which the multinational conglomerate predominates.
Berkeley designers propose building this pavilion entirely out of books, and you can help kickstart the project
Leaders of the Bay Area Book Festival (taking place June 5–7 in Berkeley) are teaming up with arts group Flux Foundation to make Lacuna, a wood-framed, yurt-like structure containing over 50,000 books, all donated by the Internet Archive. The "participatory" installation, designed with built in benches and alcoves, will have walls literally made out of stacks of books. Ceilings will be made of book pages attached to guy wires. lt will sit in Berkeley's Martin Luther King, Jr. Civic Center Park, creating what organizers call "a reflective space that offers contrast to—and respite from—the busy energy of the festival." In a digital world, this reminder of books' physicality, and the opportunity to read them and reshape the space, should be a major draw—especially as many bookstores still struggle to stay open. The project is still seeking funding. You can contribute to its Kickstarter campaign here.
The Serpentine Galleries has unveiled renderings for its 15th summer pavilion which it described as an "amorphous, double-skinned, polygonal structure." The interactive and certainly bright installation is designed by the Madrid-based SelgasCano and comprises translucent, rainbow-colored panels woven into a webbing system. Visitors are encouraged to enter the pavilion and explore its "secret corridor" and "stained glass-effect interior." "We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, colour and materials," SelgasCano said in a statement. "We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it. Each entrance allows for a specific journey through the space, characterised by colour, light and irregular shapes with surprising volumes. This is accomplished by creating a double-layered shell, made of opaque and translucent fluorine-based plastic (ETFE) in a variety of colours." After people have explored the colorful space, they will find an open space cafe sited at its center. Over the summer months, SelgasCano's pavilion will become the stage and centerpiece of Serpentine’s Park Nights—a cultural event held every Friday evening. Previous pavilion designers include Frank Gehry, Zaha Hadid, Jean Nouvel, Oscar Niemeyer, Peter Zumthor, SANAA, and Toyo Ito with Cecil Balmond. Architectural Digest recently reported that last year's pavilion by Chilean architect Smiljan Radic has been moved to the gardens of Hauser & Wirth Somerset a few hours outside of London.
This year’s Folly installation in New York City bends and twists spheres into an innovative plywood pavilion
The winning proposal for this year's Folly installation at New York City's Socrates Sculpture Park rethinks social interaction in public spaces with a sculptural installation resembling cross-sections of basketballs protruding from a horizontal plane. Torquing Spheres comprises sculpted, intertwined forms whose voluminous curves represent new feats in material techniques: bending plywood in a way that has been common in bending plastic panels. "By cutting out a fold line as well as a hole in the center of the panel, the material edges can be overlapped and mechanically fixed in place by simple bolts," the architects explained in their proposal. Best viewed from above for its juxtaposition of straight lines with complex spheres, the design riffs off the traditional geometry of domes, squinches, and pendentives to make standalone units. "The result is a doubly curving membrane but made by a simple construction technique that creates a monocoque shell that is self-supporting without a structural frame." Each half sphere is a pod resembling a futuristic, design-conscious take on the humdrum and far-from-plush park bench. The proposal is the brainchild of architects Mariana Ibañez and Simon Kim of IK Studio, a Cambridge and Philadelphia-based design and research practice that dabbles in material performance, adaptable tectonics, spatial interaction, and robotics within architecture and urbanism. Torquing Spheres won first place out of 126 submissions from around the world in the annual Folly program, a juried competition held in recognition of exceptional early-career architects and designers. The innovative proposal was selected by a five-person jury of big-name architects and artists, including David Benjamin (The Living), Leslie Gill (Architect), Sheila Kennedy (Kennedy & Violich Architecture), Alyson Shotz (Artist), and Socrates Sculpture Park Executive Director John Hatfield. Torquing Spheres is presented by the Architectural League of New York and Socrates Sculpture Park in Long Island City, and will be unveiled at the park on May 17 from 3:00–6:00p.m.
As AN wrote in January, New York City's FIGMENT selected not one but two projects for this year's annual art installation at Governors Island. But here's the thing, neither of these pavilions are going to be realized without significant funds being raised. So, naturally, Kickstarter campaigns have been launched for the Billion Oyster Pavilion and the Organic Growth Pavilion. Check out the two videos below to learn more about each project, and if you feel so inclined, maybe throw in some cash. The Organic Growth pavilion is trying to hit its $20,000 goal in 31 days and the Billion Oyster Pavillion hopes to raise $22,000 in the next two weeks.
Virginia Tech students demonstrate a light touch with glass and steel pavilion.The undergraduate architecture students enrolled in Virginia Tech's design/buildLAB begin each academic year with an ambitious goal: to bring a community service project from concept through completion by the end of the spring semester. In addition to the usual budget and time constraints, the 15 students taking part in the course during the 2013-2014 school year faced an additional challenge. Their project, a public pavilion for Clifton Forge Little League in the tiny hamlet of Sharon, Virginia, was entirely lacking in contextual cues. "It was interesting because our previous design-build projects have been downtown, with lots of context," said Keith Zawistowski, who co-founded and co-directs design/buildLAB with his wife, Marie. "Instead, we had a pristine, grassy field with a view of the mountains. We joke that this is our first group of minimalists." The students' understated solution—three geometric volumes unified by the consistent use of a vertical sunscreen—turns the focus back to the pavilion's surroundings with a restrained material palette of concrete, glass, and steel. Design/buildLAB assigned a separate structure to each element of the Sharon Fieldhouse program, nestling the open-air public pavilion between glass boxes containing the restrooms and concessions kitchen. Different roof heights distinguish the spaces, yet a common material vocabulary and their arrangement along a single horizontal axis allows them to be read as a single object. "The students describe the field house as a linear incision through the site," said Zawistowski. "Basically it's just light cut through the green landscape." Because Sharon Fieldhouse is intended for seasonal use, the students focused on maximizing environmental performance for the warmer months of the year. "Everything's about cooling and ventilation," said Zawistowski. A no-energy ceiling fan cools the kitchen, and tempered laminated white glass helps cut solar gain inside the enclosed areas. "The glass has a translucent quality, so that the spaces are bathed in even light, eliminating the need for electrical lights during the day," explained Zawistowski. The external sunshade, comprising vertical steel plate elements painted white, serves both conceptual and practical ends. "The shade screen is about intimacy and privacy—not just under the open-air pavilion but in the enclosed spaces," said Zawistowski. "The elements vary in density. They're tighter together toward the more private parts of the building." At the same time, larger gaps between the screen's members on the east side of the pavilion welcome in the morning sun, while to the west the steel bars draw together to provide afternoon shade. The screen simultaneously functions as skin and structure. "In most cases, the sunshade is tacked on. In this case it's part and parcel of the architecture," observed Zawistowski. Wider steel bars take the weight of the building's roof, and help conceal downspouts. "Everything is hidden there in the screen," said Zawistowski. "We brought a new group of students to the field house and asked them if they could figure out how rainwater could get off the roof. They didn't know." The students prefabricated portions of the pavilion at Virginia Tech's Blacksburg campus, panelizing the screen members and roofing. "One thing that bothers us in design-build education is that multiple generations tend to work on one project," said Zawistowski. "It's important for us that the same group sees the implications of what they design, so we rely really heavily on prefabrication." On campus, he added, students are able to take full advantage of the university's resources. Once on site in Sharon, the students completed assembly in just a couple of weeks. Given the fact that his students conceived of, fundraised for, programmed, planned, designed, and built Sharon Fieldhouse in less than ten months, it's no surprise that Zawistowski refers to the supernatural when he talks about the project. But when he brings up hocus-pocus, it is as much about the pavilion's aesthetic impression as it is about the speed with which it was brought into being. "We say that it's put together with magic," he mused. "All the connections are hidden—everything's just light and shadow."
A luminous, arched pavilion in Ohio aims to highlight the potential of 3D fabrication techniques, and to so it's mounting a Promethean stunt. The so-called Solar Bytes Pavilion grabs sunlight during the day and radiates light when it gets dark, recreating the day's solar conditions minute-by-minute throughout the night. Brian Peters helped found DesignLabWorkshop in 2008, eventually settling in Kent, Ohio. Their latest project is the Solar Bytes Pavilion, a continuum of 94 unique modules (“bytes”) 3D printed in ceramic bricks covered with white, translucent plastic. Peters and his team then put solar-powered LEDs in each of the bytes, snapping them together in a self-supporting, arched pavilion just big enough for a few people to huddle inside. 3DPrint.com got some detail on the fabrication process:
...he used a 6-axis robot arm located at the Robotic Fabrication Lab at Kent State. A hand welding extruder, called the Mini CS, was attached to the robot arm to serve as the 3D printhead, and it extrudes plastic material in a sort of FDM-style process. The technology, provided by Hapco Inc. and called BAK/DOHLE, is employed by universities, government agencies, and concerns like the University of Michigan, Oak Ridge Laboratory, the US Department of Energy, and the University of Tennessee.The pavilion debuted at Cleveland's Ingenuity Fest.
Demolition of the graffiti mecca known as “5Pointz” in Long Island City, Queens has become a flashpoint in New York City development. The iconic arts institution was literally whitewashed by the developer last spring and has since been turned to rubble to make way for two rental towers. As the controversial project continues in Queens, the destruction of another world-renowned graffiti forum, just a few miles away in the South Bronx, has gone largely unnoticed. The graffiti-covered walls of Boone Avenue are currently being demolished to make way for a massive housing development. For decades, some of the world's most respected street artists came to this desolate, industrial stretch, turning warehouses into canvases. The result was a constantly-evolving public gallery, curated by Cope2, a living legend in the street art world. But, let's be clear, this is not the same story as 5Pointz—the new development will not be luxury towers, but much-needed affordable housing. Still, the loss of a cultural institution is the loss of a cultural institution. Since the city broke ground on the development, a coalition of artists, architects, and students has formed to preserve as much of the site's history as it can. The project is called The Boone Room and its being run by SLO Architecture, the Bronx River Art Center, and students from Fannie Lou Hamer High School in the Bronx, and The New School in Manhattan. Last spring, students conducted video interviews with local artists and photographed existing work as part of an online exhibition that will go live in January. To create new, permanent street art in the neighborhood, artists, under the curatorship of Cope2, were commissioned to paint an interior wall of the Fannie Lou Hamer High School. The team behind The Boone Room has also worked with the developer to preserve some of Boone Avenue's colorful, roll-down gates which are being repurposed into a canopy for a performance space outside of the Bronx River Art Center. When AN recently visited Boone Avenue, local artist and resident David Yearwood, was working on what's known as Boone Avenue's "practice wall.” (This wall is expected to be demolished by a later stage in the development.) “Doing art in the neighborhood is a hard thing to do,” said Yearwood. “I’ve got a lot of friends that don’t like art, so you’ve got to find things to do get out of the neighborhood.” So Boone Avenue is where Yearwood comes, almost every single day. Finding somewhere else like Boone won’t be easy. "It’s basically a rough life right now for a lot of people,” he said. “There’s nowhere else to go.”