Serpentine Gallery Pavilion 2000
Coauthor:
Cecil Balmond
Spolupráce:Jim Heverin, Eric Gabriel
Address:
Kensington Garden,
London,
United Kingdom
Investor:Serpentine Gallery
Completion:2000
Area:600 m2
Zaha Hadid was the first architect approached, and the tremendous success of her design played a significant role in the development and popularity of the Serpentine Pavilion project. The initial brief had a clearly defined function: Hadid was to design a pavilion that could serve as a party tent, as it was to be used to celebrate the thirtieth anniversary of the opening of the Serpentine Gallery. Additionally, she had to contend with a clearly defined budget, which was very close to the cost of renting a standard tent (£100,000). Hadid drew from the shapes of a classic tent - the triangular roof is supported by a metal structure and partitions the interior area of 600 m².
In 2000, the Serpentine Gallery in London’s Hyde Park commissioned a specially designed pavilion for its thirtieth anniversary gala. The brief was to devise an external enclosure for 400 seated guests on the lawn outside the gallery and, responding to the temporary nature of the installation, the studio started with the idea of a tent – this was to become the rst in the Serpentine’s popular series of summer pavilions.
The triangulated canopy subverted the conventional idea of a tensile fabric construction; its sequence of angular, at planes gave the illusion of solidity. The fabric panels were supported by a steel frame, which extended to the ground and reached high into the air to de ne a variety of internal spaces. Lighting was discreetly integrated between the fabric cladding to illuminate and expose its structural ribs.
Inside, the oor was dotted with tables created speci cally for the project. Their colour cast changed from white to black, subtly reinforcing the idea of a wave of motion, rippling through the tent. Although the tent was only intended to be there for ve days, it was extended by demand until September of that year, where it served as an outside café for the gallery.
The triangulated canopy subverted the conventional idea of a tensile fabric construction; its sequence of angular, at planes gave the illusion of solidity. The fabric panels were supported by a steel frame, which extended to the ground and reached high into the air to de ne a variety of internal spaces. Lighting was discreetly integrated between the fabric cladding to illuminate and expose its structural ribs.
Inside, the oor was dotted with tables created speci cally for the project. Their colour cast changed from white to black, subtly reinforcing the idea of a wave of motion, rippling through the tent. Although the tent was only intended to be there for ve days, it was extended by demand until September of that year, where it served as an outside café for the gallery.
ZHA
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