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Case Study: Serpentine Gallery In London

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Serpentine history Sackle Photo 1: Serpentine Sackler Gallery in London, UK. The Serpentine consists of two galleries located in the Royal Park of Kensington Gardens in central London where both the gallery is separated by the Serpentine Lake. This gallery was opened to the public on 28 September 2013 and it was designed by Zaha Hadid Architects, the architectural shell renowned pioneer in designing iconic buildings around the world. The gallery received international recognition for excellence, inspired by the work of various artists, architects and designers for 44 years. Gallery name is inspired from the name of the gallery founder, Dr Mortimer and Theresa Sackler, who made Serpentine gallery Foundation for his contributions in the 44 years in which financing was led by Bloomberg. location Figure 2: Location Serpentine Gallery. The Serpentine Sackler …show more content…

It extends between and connects the perimeter ring beam and a set of five interior room roof high points. Instead of using perimeter columns, beams and trusses edge twisted ladder supported on three points. This detail is coherent with the overall character of the extension of the light touch intervention. The envelope was completed by the curved, frameless glass walls that cantilevers out of the ground to reach the edge beams and roof fabric. Photo 4: tapered columns to support the structure. Serpentine Gallery is kept constant pursuit of tension structures, using elements coated fiberglass fabric stretches between twisting roller coaster steel frame. They form a building where the roof meets the floor in one continuous surface means you see things that would otherwise be hidden. This ceiling is held on five pillars soaring stab in the room open plan, each rising to the opening of ovular that channel light down their concave shaft. Photo 5: Glass fiber texture and free flowing white canopy. Kain as a medium

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Three photos of structures were taken at the same time on the same day on the University of California, Los Angeles campus. The first was the front of Royce Hall, the second was the front of Powell Library and the third was of Kerckoff Hall. The photos were taken within the same hour on a sunny day with an iPhone 6S. Each photo has four different variations found in the power point. The first is a variation that was not edited and listed the artist’s name as Mark C, the next was a heavily edited photo and listed the artist’s name as Mark C, a not edited photo listed the artist’s name as Maria C, and the last variation was a heavily edited photo that listed the artist’s name as Maria C. The name is written right under the photo in Times New Roman Font size 32.

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On Friday, October 2nd, I visited the Wittliff art collection at Texas State University. I was very excited at how much art I was going to see as I made my way to the 7th floor of the Alkek Library, which is where the Wittliff art collection is located in. Sadly, with all of the artwork that was displayed, I was having trouble deciding on which art pieces to write this critique on. However, two certain 2-D pieces caught my eye. Out of all of the displays in the art collection, I ended up choosing Keith Carter’s photograph and Kate Breakey’s painted photograph.

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The display heavily influenced him as a result after he returned to his studio in San Rafael, Farrow began creating sculptures of mosques and cathedrals using bronze. Then decorating them using guns, bullets, steel and bones. However before Farrow begins making these sculptures, first he starts with sketch books and architectural plans and does a great deal of research on the structures he creates. For an example the museum had one of Farrow’s structure called the “Bomb Mosque” which was based on a mosque in Pakistan that was bombed.

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These pieces are highlighted with natural light by a clever system of mirrors. The museum sits on a 15 acre lot, surrounded by gardens and natural beauty. The Approach One of the first things that I noticed was the impressive gardens

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While the Gothic room has a number of strengths, it faces some challenges in light of Mrs. Gardner 's will. The room functions as one of the more obvious rooms to recognize a theme. Also, the overall structure of the room is large enough to accommodate a substantial Gothic collection. It, however, was not large enough for the entire collection, as Gothic items sprawl throughout the Long Gallery, Chapel, along with Gothic tapestries by the stairs. As the room attempts a natural setting, a visitor has the opportunity to be very close to the museum objects.

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In a display along the wall to the left of a house-like display, behind the small, white picket fence, of items the patron would typically see in a 1930s era home that include an antique sewing machine table and an old phonograph player. On the wall above this display has some old black and white photos taken during that era that capture the hardships the people faced such as the farming difficulties and the breathing difficulties, the black cloud of dust rolling into town, and the great sadness in the aftermath when the dust finally settled, showing everything buried in a blanket of dirt. The house-like display consists of a typical 1930s living room that include such items as family heirlooms and family photos. The museum patron can walk up onto the porch and go in the front door as if walking into the house itself. Upon stepping inside, the patron will see things like old photos, a rocking chair, a couch, and a desk.

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I that room there are 14 stained glass windows each of them represent a different topic. One of the biggest murals is called apotheosis. Also in this room there are 6 crystal chandeliers and wood desks. There are 1,000 lights in the chandeliers. (The Pennsylvania Capitol)

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Question#1 Some people might think that abandoned, “ghetto” sites have become useless, uninspiring, invaluable and should be demolished to create a building in which people could inhabit or use with a purpose. Although, that is not always the situation, some places could be transformed into a building that is advantageous to all. To support this, it clearly states in Source#2 that “Through government partnerships, public art can also transform dull or run-down public spaces and inspire the people who live and work there. We believe that art is educational and belongs to all people.

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The bottom of the arched bridge is partially lit and includes coffers, which include more aspects of shadow. The illuminated area below the bridge is balanced in size with the portion of the façade above, fitting in with the plan of the “W.” The light also shines onto the water of the canal where the color of the water reflects that of the sky, providing unity between the bottom and the top of the

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A problem that is run into with any project is money. If the museum is not a government funded project the money has to come from somewhere. To fix this problem we could take a profit from selling the art. A few small percentages taken from the artists that sell their art work there would help out in a big way.

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The amount of plant and animal species located in the exhibit is astonishing. The path of the exhibit is a long winding cement path covered with a variety of colors and sounds. One look at the inside of the

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All roofs have flowing lines and elegant cornices, each corner of the roof has a number of statues, depending on how many people live there or, depending on the destination, only the number 9 is not touch, as is the number of the Emperor but the main problem figurines represent the evolution of the nails or something similar to the stability of the cornice in windy weather. The architect came up with a universal form, on the one hand to create a mythical atmosphere, on the other practicality and functionality, it is their practical role in ancient Chinese architecture. ( Beijing Attraction – Forbidden City – Beijing Palace Museum. Tai Yan Zhang .2012) Now let 's look at the structure and aesthetic qualities of forms of the Forbidden City,individually.

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Introduction and Company Background The report is about the strategic appraisal of Louis Vuitton which is mainly a French based fashion house and founded by Louis Vuitton in 1854. The report will incorporate a brief background of the company as to its core business emulated by the industry it operates in. The background will further proceed with its geographical markets, the products and services being offered, their makret segments, their imperative stakeholders and what generic strategy is being followed by them.

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After all, why are art galleries and gallerists busy spending time and energy on a near-perfect display of art? Who are they all (the gallerist as well as the artist) trying to lure? Why is it important for the artist to know, swagger and often strut around whose collection his/her artwork has landed into? Why does the art gallery (and/or the artist) that manages sell-out shows, havea chip on its shoulder? The speedy dissemination of information and the ease of international travel offer the collector unrestricted access to an art world.

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