The Serpentine Pavilion in Kensington Gardens, known for its avant-garde architectural designs, is a summer highlight that showcases a unique blend of artistry and innovation. Celebrating its 25th anniversary, the pavilion has previously hosted a variety of renowned architects, such as Frank Gehry, whose design resembled a chaotic lumber yard, and Peter Zumthor, who created a serene space with charcoal walls that isolated visitors from the surrounding park.
The selection process for the pavilion is straightforward: architects chosen for the project must not have previously constructed a building in the UK, providing an opportunity to highlight emerging or underrepresented talents. Over the years, the pavilion’s early emphasis on prominent male architects has shifted towards a more diverse group of younger designers, bringing fresh perspectives to the project.
This year, the honor of designing the pavilion goes to Lanza Atelier, a studio based in Mexico City and founded in 2015 by Isabel Abascal and Alessandro Arienzo. The duo is recognized for their innovative reinterpretation of traditional materials and forms, combining craftsmanship with modern technology and design practices.
Abascal and Arienzo have embraced a literal interpretation of the pavilion concept, creating a distinctive serpentine structure characterized by a wavy, rust-colored brick wall known as a crinkle-crankle wall. This design, originally introduced to Suffolk by Dutch engineers in the 17th century for draining marshes, also has historical roots in Mexico and ancient Egypt.
Mathematically inclined observers might refer to this architectural feature as sinusoidal, while structural engineers would appreciate its efficient use of materials. The curvy design provides natural stability and resistance to lateral forces, allowing for a robust construction that only requires a single layer of bricks without additional support. When oriented east-west, the south-facing wall captures sunlight, contributing warmth beneficial for growing fruit trees and extending the growing season. Abascal notes, “These structures temper climate, provide shelter, and facilitate growth.”
The pavilion comes at a time when walls have faced criticism, particularly in the context of President Trump’s controversial border wall. Abascal views this project as a chance to redefine the perception of walls, stating, “We’re creating a wall that attracts rather than divides, fostering a communal space with multiple small rooms. A wall doesn’t have to symbolize division.”
The architects embrace the notion of “gentle geometry,” which adapts to the movement of visitors. The serpentine design was influenced by the curves of existing tree canopies, as Arienzo explains, “The geometry arises from understanding the natural boundaries of the site.” The undulating form also reflects the nearby Serpentine pond, while a serpentine-shaped bench complements the pavilion’s design.
The pavilion is topped with a flat glass roof supported by a steel framework, featuring fixed louvres to moderate sunlight and create a cool interior environment. This straightforward yet logical design is accented by a row of sparkling lights along the top of the crinkle-crankle wall, adding a touch of flair.
Throughout its history, the Serpentine Pavilion has seen a variety of building materials, including cork, timber, and even inflatable structures. Notably, this is the first time brick has been utilized, previously considered too permanent for a temporary installation. The bricks, produced in Surrey at a facility with historical ties to London’s architectural landscape, are standardized in size and creatively arranged without mortar, making dismantling easier and minimizing waste.
In an unconventional twist, the bricks have been installed with their ribbed sides facing outward, creating a textured surface reminiscent of woven fabric, as opposed to the traditional inward-facing ribs used for mortar adhesion.
The wavy brick walls echo the weathered red brick of the nearby Serpentine South Gallery, a classic 1930s pavilion, and the surrounding area, dotted with Victorian brick buildings and the iconic Royal Albert Hall.
Frank Lloyd Wright famously remarked on the transformative potential of a brick, noting its ordinary nature can be elevated through creative construction. Arienzo shares this sentiment, emphasizing that while bricks may seem simple, their unique arrangement can spark curiosity and appreciation. After 25 years, it seems fitting that brick has finally found its moment at the Serpentine Pavilion.
Lanza Atelier’s Serpentine Pavilion will be open to the public from June 6 through October 25.
