2018 Serpentine Gallery Pavilion

Jon Leach, director at AECOM, on realising architect Frida Escobedo’s vision for the 2018 Serpentine Gallery Pavilion

Words
Jon Leach
Photos
Iwan Baan

As one of the most visited architectural and design exhibitions in the world, the Serpentine Pavilion is always an exciting project to work on. But with tight programme constraints, which allow just 20 weeks from inception to completion, it is also very challenging, and this year’s project was no different.

For the sixth year running, AECOM, in collaboration with David Glover, are delivering technical advisory services for the Pavilion, including structural engineering, fire engineering, and lighting and electrical design. The creation of such structures requires a true synergy between all parties, from the gallery to the architect, engineers and construction team, and a lean team to ensure clear communications and decision-making. The result is a team dynamic that blurs traditional consultant responsibilities and interfaces as everybody pulls together to realise the architectural vision.

For the 2018 Pavilion, Frida Escobedo joins the domestic architecture of Mexico with British materials and history. The architect’s concept a subtle interplay of light and geometry. We have used everyday materials to create light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. Throughout the design process, our focus was to create delight for the people that visit the Pavilion.

Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls align with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.

Materials and finishes developed for the space play an important role in reinforcing the concept and enhancing the visitor experience – the curved underside of the canopy is clad with mirror-finish stainless steel panels, and a triangular reflection pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.

British-made materials feature prominently in the fabric of the Pavilion, chosen for their dark colours and textured surfaces. A ‘celosia’ – a traditional breeze wall common to Mexican architecture – is composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues.

Virtual Reality model of the pavilion, used in the design process

Our engineering interpretation relied on a combination of cutting-edge computational design and fabrication, and on the application of engineering first principles and knowledge of the materials and manufacturing techniques to turn the concept into a built reality. Digital technology, including parametric modelling and augmented reality, was used throughout the design process as a tool alongside more traditional hand sketching and small-scale physical models. Using technology developed in-house, the model was transferred into an immersive virtual environment from an early stage. This allowed the design to be shaped around a human-scale perspective, with visual and technical interfaces and details fine-tuned in a collaborative forum. A combination of all of these media helped the team to visualise and test all aspects of the design before fabrication commenced.

Time-lapse film of the pavilion’s construction

The unique programme for the Serpentine Pavilion necessitates that the role of engineer is central to the creative process. Knowledge of materials and fabrication methods, as well as the planning and Building Control approval processes, are required to transform the design into functional and buildable spaces without losing sight of the original architectural spirit. This year’s programme has been ambitious, as always, and the hard work has really paid off. It is wonderful to see the space open to the public on the Serpentine lawn, being enjoyed and admired by architecture enthusiasts and Park visitors alike.