Cutting Edge

Emma Lyne Pouch

            In London’s Hyde Park, the pavilions of the Serpentine Gallery provide a constant change in architecture that allows for designers to experiment in making radical ideas a reality. The freedom in having no set budget and only worrying that the project can be completed in less than 6 months makes this challenge easily accepted. Looking back on the past 12 years of the pavilions, I find it interesting to see the approach the different architects take when being presented with the honor of creating a temporary masterpiece. There are two factors I recognize that divide the final outcomes of the projects, sharp versus soft edges. Although the soft edges are beautiful and fitting for the garden space, I appreciate architects who dare to create a piece that beautifully opposes its surroundings.

Libeskind Pavilion: Interior

            In 2001, Daniel Libeskind became the second architect to design a pavilion for the Serpentine Gallery and took the approach of using harsh, sharp edges. It was inspired and referenced to origami that is clear to see through the manipulation of aluminum panels. The aggressive sequence in which the metallic planes are connected makes for a space that is very similar to Libeskind’s Holocaust Museum. Within the pavilion it is a dark space that has sharp diagonal edges cutting across letting in fragments of light. Although I like the design for the museum in Berlin I feel Libeskind’s approach of this project is not as strong and not fitting for the space. The most interesting element is the use of the aluminum to reflect the light and the structure opposite from the pavilion. Clearly other designers for the future pavilion projects thought the same because this idea of reflection is repeated multiple times.

Ito Pavilion: Interior

          The following year Japanese architect Toyo Ito formed a new design with a different approach to sharp edges. What appeared to be a complex random pattern was actually derived from an algorithm of an expanded rotating cube.  The result was an arrangement of triangles and trapezoids with alternating materials. Instead of using heavy metallic like Libeskind to incase the space, Ito chose white, translucent and transparent materials for construction. This selection lead to a final result that implied purity and perfection from the white while beautifully reflecting surroundings in the glass. From within the pavilion it is light and airy in addition to providing a unique view of the outdoors from the abstract pattern, therefore creating a more inviting space that people what to experience. This soft, elegant feel contrasts the sharp edges to develop what I believe is a more successful design than that of Daniel Libeskind’s.

            In later pavilion projects this use of the sharp versus soft edges continues to appear, yet none achieve the balance as Ito’s design did. The fascinating element of the Serpentine Gallery project series is how so many ideas can be shown in this space. It is a one of a kind collection that is not only special for the architects who are able to take part in designing but also for the people who are able to engage in occupying the space.

Libeskind Pavilion: Exterior

Ito Pavilion: Exterior