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BUILDING |
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Serpentine Gallery Pavilion
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DESIGNER |
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CONTEXT |
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| Relationship with the location |
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| Location |
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DESCRIPTION |
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 The Serpentine reveals the designs for its expanded Architecture Programme for 2016: the 16th annual Pavilion designed by Bjarke Ingels Group (BIG) (Copenhagen/New York) and four newly commissioned Summer Houses by Kunlé Adeyemi – NLÉ (Amsterdam/Lagos), Barkow Leibinger (Berlin/New York), Yona Friedman (Paris) and Asif Khan (London). The Summer Houses are inspired by Queen Caroline’s Temple, a classical style summer house built in 1734 and a stone’s throw from the Serpentine Gallery.
 Introducing contemporary architecture to a wider audience, the Serpentine Architecture Programme presents a unique exhibition of contemporary international architecture in the built form, rather than through an exhibition of models, drawings and plans. Each of the five architects, aged between 36 and 93, have not completed a permanent structure in the UK.
The Serpentine Pavilion, designed by Bjarke Ingels Group (BIG), is an ‘unzipped wall’ that is transformed from straight line to three-dimensional space, creating a dramatic structure that by day houses a café and free family activities and by night becomes a space for the Serpentine’s acclaimed Park Nights programme of performative works by artists, writers and musicians. Kunlé Adeyemi’s Summer House is an inverse replica of Queen Caroline’s Temple - a tribute to its robust form, space and material, recomposed into a new sculptural object. Barkow Leibinger were inspired by another, now extinct, 18th Century pavilion also designed by William Kent, which rotated and offered 360 degree views of the Park. Yona Friedman’s Summer House takes the form of a modular structure that can be assembled and disassembled in different formations and builds upon the architect’s pioneering project La Ville Spatiale (Spatial City) begun in the late 1950s. Asif Khan’s design is inspired by the fact that Queen Caroline’s Temple was positioned in a way that it would allow it to catch the sunlight from The Serpentine lake.
Serpentine Galleries Director, Julia Peyton-Jones, and Co-Director, Hans Ulrich Obrist, said: “We are delighted to reveal the designs for our expanded Architecture Programme. As you can see from the architect’s renders, Bjarke Ingels has responded to the brief for a multi-purpose Pavilion with a supremely elegant structure that is both curvaceous wall and soaring spire, that will surely serve as a beacon - drawing visitors across Hyde Park and Kensington Gardens to visit the Pavilion, the Summer Houses and our major exhibitions by Alex Katz and Etel Adnan. The response to design a Summer House inspired by the 18th Century Queen Caroline’s Temple by our four international architects has been equally inspired and has produced four unique spaces for visitors to explore this summer. “ |
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| Architect’s Statement |
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 For the Serpentine Pavilion 2016, we have attempted to design a structure that embodies multiple aspects that are often perceived as opposites: a structure that is free-form yet rigorous, modular yet sculptural, both transparent and opaque, both solid box and blob.
 We decided to work with one of the most basic elements of architecture: the brick wall. Rather than clay bricks or stone blocks, the wall is erected from pultruded fibreglass frames stacked on top of each other. The wall is then pulled apart to form a cavity within it, to house the events of the Pavilion’s programme. This unzipping of the wall turns the line into a surface, transforming the wall into a space. A complex three-dimensional environment is created which can be explored and experienced in a variety of ways, inside and outside. At the top, the wall appears like a straight line, while the bottom, it forms a sheltered valley at the entrance of the Pavilion and an undulating hillside towards the Park.
The unzipped walls creates a cave-like canyon lit through the fiberglass frames and gaps between the shifted boxes, as well as throgh the translucent resin of fiberglass. As a result, the shifting overlaps as well as the movement and presence of people outside create a lively play of light and shadow on the cave walls within.
The materials include wooden floors and extruded Fiberline profiles, providing every surface with a warm glow and linear texture – from the mesh of woven glass fibres to the undulating lines of the grain of the wood.
This simple manipulation of the archetypal space-defining garden wall creates a presence in the park that changes as you move around and as you move through it. The North-South elevation of the Pavilion is a perfect rectangle. The East-West elevation is an undulating sculptural silhouette. Towards the East-West, the Pavilion is completely opaque and material. Towards the North-South, it is an entirely transparent and pratically immaterial. As a result, presence becomes absence, orthogonal becomes curvilinear, structure becomes gesture, and box becomes blob. |
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The Pavilion has two exits, one at each end of the longitudinal dimension.
A public space during the day (lOam — 6pm) and a forum for learning, debate and entertainment at night
The Harrods cafe is located inside the Pavilion |
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| Serpentine Pavilion History |
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The Serpentine's Pavilion commission, conceived in 2000 by Director Julia Peyton-Jones, has become an international site for architectural experimentation and has presented projects by some of the world's greatest architects. Each Pavilion is sited on the Serpentine Gallery's lawn for four months and the immediacy of the commission - taking a maximum of six months from invitation to completion - provides a unique model worldwide.
The selection of the architects, chosen for consistently extending the boundaries of architecture practice, is led by the Serpentine's core curatorial thinking, introducing contemporary artists and architects to a wider audience. The brief is to design a 300-square-metre Pavilion that is used as a cafe by day and a forum for learning, debate and entertainment at night.
 Serpentine Pavilion architects to date are:
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VIDEO |
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MATERIALS |
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fiberglass, composites, wood 
- The boxes used to build the Pavilion are both the structure and the envelope.
- Main structure — extruded glass fibre sheets 400 x 500mm glued individual boxes (bricks). The modular components are joined by a cross profile aluminium extrusions that transfers the load from box to box.
- Total number of 400x500mm glass fibre boxes: 1802
- Total length of cross section aluminium connectors: l500m
- Floor: wooden floor, 500mm wide planks.
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LOCATION |
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| Continent |
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North America |
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| Nation |
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 Canada |
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| Province |
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 Ontario |
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| Metropolitan area |
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 City of Toronto |
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| Town |
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 Toronto |
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| Address |
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533 King Street West
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MAP |
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TYPOLOGY |
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ARCHITECTURE | Commercial buildings
Bars, cafeterias
Urban equipment and structures for public areas
Structures for public areas
Other architectural structures
Pavilions, kiosks, facilities
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CHRONOLOGY |
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Project |
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2016 - 2016
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Realisation |
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2016 - 2016 |
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BIBILIOGRAPHIC REFERENCES |
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| "Box clever", Architecture Today 269, june 2016, pp. 36-45 |
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| Miriam Sitz, "Bjarke Ingels Group to design 2016 Serpentine Pavilion", Architectural Record 3/2016, march 2016, p. 30 |
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ADDITIONS AND DIGRESSIONS |
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CLIENT |
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DIMENSIONAL
DATA |
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| Surface |
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site sq.m. 541
gross internal sq.m. 273 |
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- The Pavilion is defined by a rectilinear axis perpendicular to the Serpentine Gallery and two sine curves tangent to the axis.
- Longitudinal dimension of the Pavilion (in the perpendicular axis to the Gallery): 27m Widest dimension between sine curves: 12m
- Maximum height (in the perpendicular axis to the Gallery): 14m
- Interior usable area (2.4m head height): 167 sqm
- lOm max ceiling height internally
- 2.4m min ceiling height internally
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STAFF |
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| Project |
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| Design team |
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| Jenn Grossman, Daria Pahhota, Maria Sole Bravo |
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| Planning and organization |
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DP9
Barnaby Collins with Katie Smith |
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ANNOTATIONS |
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Installation period: 10 June / 9 October 2016
The pavilion was purchased by Westbank who transferred it to Toronto.
See others Serpentine Gallery Pavilions
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CREDITS |
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Photos © Iwan Baan, Luke Hayes, Jim Stephenson
Drawings © Bjarke Ingels Group (BIG)
Text edited by Serpentine Gallery
Courtesy of Serpentine Gallery
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