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Tag Archives: Pavilion

London’s ‘Color Palace’ is the jolt of energy architecture needs

The installation celebrates vibrant Nigerian textiles and experimental engineering

colorful installation in LondonAdam Scott

In the textile markets of Lagos, Nigeria, bolts of vividly hued fabric are stacked far as the eye can see. They’re often neatly wrapped, waiting for shoppers to unfurl them and reveal their vibrant geometric patterns. These markets inspired the Color Palace, a new pavilion British-Nigerian designer Yinka Ilori and the firm Pricegorecreated for the London Festival of Architecture and Dulwich Picture Gallery.

colorful installation in LondonAdam Scott

The temporary pavilion is an enormous, prismatic slatted cube raised on four stocky red columns that are actually old drainage pipes. The cube’s space frame is composed of wood battens that are all the exact same size. Ilori painted a geometric motif on the facade, with each batten receiving a different color on each side.

This yields an optical illusion: Walking around the pavilion makes it appear like the colors morph, like a lenticular print. When visitors ascend a magenta staircase, they’re totally immersed in the structure and can see, up close, how everything is assembled.

Adam Scott
Adam Scott

“[The pavilion’s] patterns and shapes calmly welcome you from a distance until you get closer and closer, and you’re blown away with an explosion of color that immediately demands your attention,” Ilori said in a news release.

Ilori is best known for designing upcycled furniture, which he paints with bold colors and reupholsters with Nigerian fabrics to symbolize traditional parables. The Color Palace extends that sensibility to a much greater scale that allows him to communicate with people in a more immersive way.

Adam Scott

“The beauty of working on a larger scale is that I am able to tell a more powerful and compelling narrative, allowing the audience to interact and engage with the structure externally and internally,” Ilori tells Curbed.

“Color Palace” is the a jolt of energy architecture needs: It’s a compelling installation that’s both culturally specific and universally expressive, and invites people to learn more about creative engineering techniques. The pavilion is the antithesis of unapproachable, stark, white cubes that have come to be the stereotype of modern architecture—and it’s invigorating.

Continue reading London’s ‘Color Palace’ is the jolt of energy architecture needs

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Sheila Hicks Recreates Her Striking Venice Biennale Pavilion at The Bass in Miami

Escalade Beyond Chromatic Lands, a fiber-art installation by Sheila Hicks, is part of a 30-work exhibition at The Bass Museum of Art in Miami. Photography by Zachary Balber, courtesy of The Bass, Miami Beach.

 

When Sheila Hicks first conceived her vibrant, larger-than-life installation Escalade Beyond Chromatic Lands for the Arsenale at the 2017 Venice Biennale, she faced a unique dilemma. “They gave me a space to exhibit that no other artist wanted because there were holes in the roof,” Hicks, a renowned fiber artist who once studied under Josef Albers, recalls. “I thought, I can handle it.”

Escalade would ultimately be remembered as one of the Biennale’s most striking, and tactile, moments, and was recently reconstructed in full at The Bass Museum of Art, Miami Beach for Campo Abierto (Open Field), an ambitious survey covering six decades of the pioneering fiber artist’s career. A floor-to-ceiling wall of multicolored bundles of pigment fiber pairs with tapestries in cotton and linen, which Hicks wove at a loom in Antigua, Guatemala, in collaboration with bespoke textile designer Mitchell Denberg.

Read More: Cindy Allen in Conversation With Sheila Hicks

Campo Abierto (Open Field) at The Bass in Miami is an exhibition of six decades of work by fiber artist Sheila Hicks. Photography by Zachary Balber, courtesy of The Bass, Miami Beach.

Though the museum certainly appears more structurally sound than the Arsenale—the roof and walls here are entirely intact—The Bass had to reconstruct its upper story to properly accommodate Hicks’s colossal installation, not to mention some 30 other works, many also ambitious in scale, spanning her oeuvre.

While this is Escalade’s third iteration—it was also exhibited last year at Kunstenfestival in Watoui, Belgium—its hundreds of rainbow bundles are as bright as ever. They’re not dyed; rather, Hicks crafts each one of pure powdered pigment that, with the help of a binding agent, transforms into a fiber.

“Do you know the difference between a carrot and a radish?” Hicks teases, likening each fiber bundle to the former. “A radish has color on the outside, but not the inside. A carrot is color through and through.”

Visitors to The Bass Museum of Art in Miami can view more than 30 works by Sheila Hicks, through September 29, 2019. Photography by Zachary Balber, courtesy of the The Bass, Miami Beach.

The fiber is produced in Turkey, processed in Western Europe, and finally woven in the United States. It fiercely retains its color in both sunlight and water. (Hicks even claims that she once left the material in a bathtub full of Clorox for two weeks to see whether the color would change. It did not.)

This retention of color makes it a choice medium for an artist whose works are frequently exposed to the elements. Take, for example, her 2017 installation Hop, Skip, Jump, and Fly: Escape From Gravity, where she wrapped aluminum tubes in another extremely durable material, Sunbrella solution-dyed acrylic, and installed them along New York’s High Line.

 Read More: New York’s High Line Sets the Stage for Sheila Hicks

“It’s a big advantage to take a supple, friendly material, to be able to walk it outdoors, leave it, and come back six months later to find it’s still okay,” she says of the pigment fiber. “That’s been exciting to me because I’m so interested in three-dimensional sculptural and environmental works. It’s a possibility I didn’t have six or seven years ago.”

Campo Abierto (Open Field) is on view through September 29, 2019.

Continue reading Sheila Hicks Recreates Her Striking Venice Biennale Pavilion at The Bass in Miami

London’s SelgasCano-Designed Serpentine Pavilion is About to Land in LA

Interior view of the SelgasCano-designed Serpentine Pavilion. Photography by Iwan Baan, courtesy of Second Home.

Since its inception in 2000 with Zaha Hadid as its first designer, the Serpentine Pavilion on the Kensington Gardens lawn outside the permanent Serpentine Gallery has been created by such architectural supernovas as Sanaa, Sou Fujimoto, Peter Zumthor, Bjarke Ingels, Diébédo Francis Kéré, and a collaboration between Herzog & de Meuron and Ai Weiwei.

The SelgasCano-designed Serpentine Pavilion will soon be installed in LA’s La Brea Tar Pits. Photography by Iwan Baan, courtesy of Second Home.

 

In 2015, the Madrid-based studio SelgasCano, the first Spaniards commissioned, created a charming cocoon-like work of a colorful membrane fabric. This summer, that construction will be reincarnated and transported to Los Angeles, marking its debut in the U.S. Visitors will be able to experience the architects’ themes of light, shadow, color, transparency, and materials as they enter through various openings and proceed through the structure. The venue is the La Brea Tar Pits, the historical site that is mere steps from LACMA, the Los Angeles County Museum of Art.

Read more: SelgasCano designs a Floating Temporary Pavilion for a Belgian Canal

Second Home will use the Serpentine Pavilion for free events throughout the summer and fall. Photography by Iwan Baan, courtesy of Second Home.

The LA installation, running from June 28 through November 24, coincides with the Hollywood opening of the London-based co-working venture Second Home, which is sponsoring the endeavor with the Natural History Museums of Los Angeles County. Encompassing 866 square feet, Serpentine redux will be a meeting ground for public talks, film screenings, music and cultural events. So far, named collaborators include BBC host and DJ Gilles Peterson; the film streaming and distribution firm, Mubi; and the Goldhirsh Foundation addressing LA’s future with its initiative LA2050. Everything will be open to the public and free.

Interior of the 2015 Serpentine Pavilion, set to debut in Los Angeles on June 28, 2019. Photography by Iwan Baan, courtesy of Second Home.

Read more: Numen/For Use Refashions “The Tube” Installation for Handbag Designer Anya Hindmarch in London

Continue reading London’s SelgasCano-Designed Serpentine Pavilion is About to Land in LA

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