Which Roof Tile Suit Your House? Terracotta Or Concrete Roof Tile?

Roof tiles are a brilliant option for your house. There are lots of benefits to installing tiles on your home. They are hard and will oppose harsh weather well They offer brilliant heat and sound insulation for your home, keeping your home calm and comfy.

They are solid to frost and will not break or warp due to temperature like a metal roof can They do not oxidation New tiles come with a many year manufacturer's warranties Terracotta and concrete tiles are both excellent solutions. While both offer significant advantages for your home, there are major differences between the two. In this article, we have assembled some info on the differences between terracotta and concrete tiles to help you in selecting the right roofing for your requirements.

Concrete Roof Tiles Concrete tiles are generally the cheaper option. They are hard and come with a many year performance assurances as standard from the manufacturers. You can be safe in the information that your concrete roof tiles will stand up to the heavy storms and even hail with approximately no wear compared to other roofing materials.

Concrete roof tiles also have the widest range of colours and patterns. Terracotta Roof Tiles Terracotta is usually more costly compared to Concrete ones, on the other hand, there is a great cause to spend money on them. The terracotta tile gets its colour from the soil it is made from, which means they will keep hold of their colour for the whole life of the roof tile.

If you make a decision to sell your property, the status for quality and colour fastness will be a big selling point, raising the value of the building. They also come with a many year manufacturer's warranties. Both terracotta and concrete roof tiles offer brilliant heat insulation, saving you cash on your heating and cooling.

Both tiles are excellent sound insulators so that they will keep noise out. Both tile materials are frost opposed to so you can rest easy in the coldest Melbourne winter without having to concern regarding your roof. Because it is composed of individual tiles, if some the roof is injured or you require modifying it, such as putting in a skylight, you only need to change or remove the spoilt tiles instead of having to replace or change the whole roof section like you would with a metal roof.

These tiles are non-combustible and, combined with high quality, and appropriately installed roof shaking will protect your home against bushfires.

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Frida Escobedo on Following in Zaha Hadid's Footsteps to Design This Year's Serpentine Pavilion
On a flying visit to London, Mexican architect Frida Escobedo breezes into the Serpentine Gallerys warm office from a bitter day in the park outside. At 38, she is set to be the youngest-ever designer of the annual Serpentine Pavilion when she brings a flavour of her home country to bear on Kensington Gardens this summer. She is also the first woman to design the pavilion in her own right since Zaha Hadids inaugural offering back in 2000. It hasnt always been easy for women to get architectural breaks, Escobedo acknowledges candidly. If you look at how many women have done the Serpentine Pavilion, that tells you all you need to know, she says. Like Hadid, her aesthetic extends to her attire which is not a sexist irrelevance but a judicious statement of her intent: Escobedo is smart as a whip and angular, with the powerful brows of her Mexican namesake, Frida Kahlo, and a piratical, thick gold ring in one ear that ignores the lobe and goes straight for the cartilage. She wears an architectonic, hemless, white felt jacket and sports slashed rockabilly turn-ups to her jeans. A temporary pavilion in Mexico City was Escobedos first project and she has been building them ever since in Lisbon, Chicago and Stanford. In 2015, an installation in the garden of the V&A used mirrored platforms to reference the layout of an Aztec city and featured a line from Julius Caesar: You know, you cannot see yourself so well as by reflection. But her interest in temporary pavilions is not, she says, for want of commissions to build actual buildings. She set out solo in 2006 and now has a staff of eight and is busy on social housing projects, as well as a beach house in Mexico, a park and Aesop stores in the US. Visiting professorships at Harvard, Berkeley, Columbia and Londons Architectural Association have also been part of the picture. Storytelling is more important to me than the object, she says. If I was male or older, maybe Id be looking more at traditional architecture but I wouldnt have it any other way. Its an opportunity rather than a limitation. Short-lived pavilions, she argues, compress and intensify the experience of architecture as well as distilling her own thoughts. Its an exercise in taking away whats just style and finding what really matters and, yes, its like therapy. The point, she says, is to stay slippery. To avoid being pigeonholed? No, its about avoiding a too recognisable architectural signature, about continuing to swim and explore. Escobedos 2018 Serpentine Pavilion has a particular source; its two nesting enclosures of lattice walls are inspired by a celosia, a traditional Mexican way of allowing air and filtered light into a house through a pierced wall. In London, Escobedo will use a black steel frame and the dark concrete roof tiles familiar in the UK to build her fretted walls instead of Mexican concrete blocks. The curved underside of its partial roof will be clad with mirrored panels, while a shallow triangular pool cast into the foundation reflect back the pavilion, trees and sky. This lean and economical approach to structure, of doing less with more, is something of a motto for Escobedo. At 24 she founded her first studio, Perro Rojo (Red Dog), with a now ex-boyfriend and has had to cope with Mexico Citys chaos and slim budgets ever since. A project that helped make her precocious name was La Tallera, the 2012 conversion of the home and studio of Mexican painter David Alfaro Siqueiros into a public gallery. It was a commission she won while already bored of architectural bureaucracy taking a course in public art and design at Harvard Graduate School. At La Tallera, Escobedo took down the perimeter wall and placed two of the artists massive murals on angled display as the bold new entrance. Full-height celosias then encased the buildings, allowing both security and dappled light. These resemble the kitsch pierced concrete blocks used for British garden walls in the Sixties and Seventies. Escobedo likes the comparison: such walls, like celosias, also allow clandestine observation and have antecedents in the window screens of Moorish Andalusia. Its like a Russian doll, she says of her pavilion, or the Mezquita in Crdoba, Spain, which has a sequence of thresholds as you pass through a grove of trees into the many-columned mosque and then into its cathedral core. As Escobedo tries the biscuits offered by the gallery, she talks of how these games of layers awake one of her early childhood memories, of hanging around for her doctor father in a clinic waiting room staring out of the window. I was looking at the block of flats opposite, at how people adapt their space an old persons place or a young persons apartment and how they are expressing intimacy and their desires. This is not an unusual trope among architects who love the imagery ofHitchcocks Rear Window for this reason, but it contributed to her interest in architecture along with making dolls house furniture with her father and playing on the grassy vacant building lots at the foot of Mexico Citys Xitle volcano. Self-contained and wanting art with a purpose, she ignored a school careers adviser who suggested that she study plastic surgery. In the Serpentine Pavilion, Escobedos perforated walls will be slightly angled. The outer wall will be aligned to the gallerys eastern faade, while the internal courtyard will be aligned directly to true north. As well as creating a courtyard feature common in Mexican houses, the angle also echoes the Greenwich time Meridian. Time is an obsession for Escobedo. She notes that in the past our notion of it was governed by the sun, or our internal feelings of hunger and tiredness. In the modern world, however, an artificial invisible line [the Meridian and time zones] defines our social life, our economy, our politics. But for Escobedo, the elusive notion of social time is more interesting. Buildings are never finished, she argues, because they are affected by the life within them. They become a compass for our internal clock. For some years now, though, architects of the Serpentine Pavilion, faced with the task of creating a cheap enclosure that has to be a functional shelter as well as a sculptural form, have taken one of two trajectories: pierced gaps between blocks (the last two Serpentine Pavilions by Francis Kr and Bjarke Ingels, for example) or a translucent skin (Smiljan Radic and Spanish architectural practice SelgasCano in 2014 and 2015). There is a danger that the constraints could make future Serpentine Pavilions somewhat predictable. Side projects, such as the series of mini-pavilions in 2016 and a Serpentine Pavilion in Beijing this year, suggest attempts to maintain the experimental drive behind the programme. We will have to wait until June to see whether younger blood meets the challenge, and if Escobedos smart ideas and poise translate into fresh architectural reality. The Serpentine Pavilion is open from June 15, sponsored by Goldman Sachs, serpentinegalleries.org
2021 05 25
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