The annual Serpentine Gallery Pavilion recently unveiled the architects and design plans for the 2023 temporary gallery, and the Serpentine Gallery is once again generating a buzz of communication within the architecture industry.
Serpentine Gallery Works 2016
Since its initial curation in 1970, the Serpentine Gallery has attracted countless custom proposals from the world's leading architects. Each year's pavilion design is a new interpretation of architectural form and functional understanding, and at the same time an invisible hint of the future direction of the architectural industry.
It is hard to imagine that a small, doomed-to-be-short-lived building, which cannot even be called an architectural entity, would become the focus of a hundred contending architects around the world, and become one of the most active and prosperous cores of architectural thinking.
Serpentine Gallery Works 2008
It can be said that for the Serpentine Gallery, its architectural value has somehow surpassed the value of the paintings in the exhibition.
Why, then, would such a major architectural event choose the gallery as a temporary vehicle for artistic expression? What is the unusual significance of the gallery for architecture?
01À Table: A piece of roof, a table, multiple communication
Lina Ghotmeh
The architect of Serpentine Gallery 2023 is Lina Ghotmeh, a Lebanese architect based in France.
Often described as a humanist architect whose practice is dedicated to building an equitable and sustainable future, Lina Ghotmeh's work emerges as a unique intervention that makes memory a fundamental element of design practice, an "archaeology of the future," as she puts it.
Building Exterior
The 2023 pavilion, called À Table, aims to minimize its carbon footprint and environmental impact by inviting visitors to hover under the same roof, bringing them closer to each other.
"À Table is an invitation to co-habitate in the same space and around the same table. It is an encouragement to have conversations, convene meetings, and think about how to restore and rebuild our relationship with nature and the earth," said Lina Ghotmeh.
Centripetal tables inside the showroom
In today's rapidly changing times, this pavilion offers a celebratory space. It has a table around which people will sit, with a low structure and an atmosphere similar to the Dogon huts of the Dogon people of Mali, West Africa.
To achieve the goal of shared dialogue, the pavilion houses tables in a centripetal ring layout, where the organic design of the table forces a seated layout that promotes interpersonal interaction and observation while encouraging a sense of unity and community.
Design Manuscript
Catering to the main design theme, the residential appearance draws inspiration from nature and the final design will take the shape of a large wooden flower that shelters guests under its petals.
In terms of structure and material selection, the gallery follows a policy of sustainability, being made primarily of wood and introducing a lightweight and fully removable skeleton.
Roof detailing
The structure was constructed using bio-sourced and low carbon materials to look like a skeleton. Sustainably sourced timber ribs are arranged to support the suspended pleated roof, echoing the structure of the foliage. The pavilion evolved as an adaptable system, allowing it to transcend its serpentine site while retaining the memory of its original ground.
Interior view of the building
In this regard the CEO and Artistic Director commented that "À table's design extends our mission to create a connection between architecture and society by promoting unity and solidarity between form and function. The world needs unity, not separation; love, not suspicion; a common future, not isolation".
02The gallery is more than just a snake
In addition to the Serpentine Gallery, there is no shortage of classic examples of galleries around the world. Although they are not as world-famous as the Serpentine Gallery, they also play a role in guiding art at the local level.
1. Chiang Mai Art Gallery / Blowing Life into Art Space
Enter Projects Asia
Night view of the gallery courtyard
Located in the northern Thai city of Chiang Mai, the gallery's interior consists of a series of organic bamboo pavilions, while the exterior is surrounded by a rich garden space, outdoor sculptures, and a magnificent water feature.
Mobile interior view
Patrick Keane, the firm's director, said, "We sought to create an immersive experience designed to give the space a warmth and depth not found in traditional art galleries."
Rattan detailing
The installation takes on a flowing form, with endless changes and turns forming a continuous pathway of movement that combines natural material forms in perfect harmony. "Why use synthetic, toxic plastics when we can get the precious materials we need from nature?" Keane asks.
Indoor-outdoor interface
If the Enter Projects Asia team wanted to bring "life" to this project, the final result is the purest expression of that vision, successfully infusing "vitality," "innovation It succeeds in infusing the art space with "vitality", "innovation" and "evolution".
2. James Simon Gallery / New Gateway to the Berlin Museum
David Chipperfield
Close up view of building exterior
As an extension to the Berlin Museum, the James Simon Gallery assumes the function of the museum's entrance and staging area, and perfectly connects the Kupfergraben Canal to the southwest façade of the museum.
The colonnade is connected to the old museum
David Chipperfield said, "The James Simon Art Museum is not just a building, it is a place. Its social role is expressed not only in its function, but also in its social responsibility as a public building in the heart of the city."
Colonnade on street level
The stunning architectural scale of the gallery ensures a view from the Palace Bridge into the depths of the museum, while above the riverbank a high colonnade rises up, expressing the classic spatial features of classical Western architecture. The slender columns become a spatial motif that continues the original colonnade of the New Museum in Berlin.
Interior space
The architects set three wide steps at the base of the slender column bases and colonnades to bring visitors into the building's interior. The interior spaces use smooth-surfaced cast-in-place concrete to contrast with the natural gravel texture of the exterior.
3. La Tallera / Resetting the interaction between the gallery and the visitor
Frida Escobedo
Gallery exterior
La Tallera was the home and studio of muralist David Alfaro Siqueiros in his later years. By removing the old fence to connect the interior courtyard to the exterior plaza and restoring two original frescoes to their original locations, the gallery and fresco studio successfully relate to their surroundings.
Visual connection between public space and plaza
By opening up the courtyard, the gallery becomes a space for public events, while also integrating the plaza into the building.
Internal horizontal sculptural blocks
Originally planned to be placed in an exterior area, the mural now serves a dual purpose: first, as a visual link and functional connection to the plaza through the public spaces of cafes, bookstores and stores that surround the gallery; and second, as a partition wall separating the artist's residence from the gallery and studio.
Interior space
The inwardly extending gallery, like the exterior space, constantly generates new views and spatial relationships. The distribution of architectural spaces and the interplay between frescoes and walls are presented within the fenced enclosure and distinguished from the outer urban environment.
4. Lee Oisoo Gallery / Intimate Frame around Nature
BCHO
Building skin
Lee Oisoo Gallery is located deep in the mountains of Korea, and the architects have adapted the topography of the site so that the gallery is hidden in the landscape according to the unique geographical conditions.
Indoor Exhibition Area
Gallery Atrium
An irregularly shaped courtyard in the middle of the gallery allows people to experience the undulations of the terrain while following a clear and continuous flow of visitors around the gallery.
The exterior of the building follows the topography
The original intent of the building was to create an intimate framework through discreet interference with the environment, allowing the light and wind from nature to be fully perceived by the users. In the highest part of the building the gallery is integrated with the surrounding beautiful natural environment, further emphasizing the relationship between architecture and nature.
5. Te Uru-Waitakere Contemporary Gallery / Tension and Purity
Mitchell and Stout
Building elevation
The building is located on a steep and irregular site in Auckland, bordered by a road at the front and a cliff at the rear, with endless views, and bordered on the left and right by adjacent buildings. The exterior is intense while the interior spatial sequence is intriguing, allowing visitors to enjoy the view of Port Manukau from the cliffs even in the midst of the vertical traffic flow.
Architectural detailing overview
The exterior of the building is made of green coated aluminum panels. Inside, an almond-shaped staircase with a strong shape connects the exhibition area and brings visitors to the art world.
Indoor stairs
The exhibition hall is based on the neutral color of white. The main exhibition hall reaches more than two storeys in height, and the architects used white lantern fabric on the top ceiling to make a beautifully shaped curved wall, allowing the ceiling to enter the exhibition area softly and evenly.
Interior Showroom
There are five exhibition spaces in this gallery, which mainly displays porcelain and handicrafts, each of which is of a different scale and in which natural light is presented in different forms.
6. Katusaba Art Gallery / Art and nature intertwined
CRU!
Architectural Overview
The location of the art gallery was chosen to be in a major farmhouse surrounded by surviving Portuguese colonial style buildings and a public space called Occa, built by an Amazonian Indian tribe.
Aerial view of the site
Based on this environment, the exterior of the building is in accordance with the Portuguese style colonial farmhouse style, with white walls and blue wooden doors, while the interior style incorporates elements of the Aboriginal Indian style bamboo design.
Arches and Courtyards
At the center is a long and narrow passage, while the arches and courtyards refer to the architectural forms of ancient monasteries, giving the space an air of sacred solemnity. A small fountain is located in the center of the portico, and by setting a 5-meter drop in the water level, the water carries oxygen downstream.
The first floor side is overhanging above the water surface
A total of 13 doors on the facade allow visitors to enter the pavilion from different locations, increasing the circulation of the building and arousing curiosity to visit. The first floor of the building is cantilevered over the water on one side, allowing visitors to view the overall appearance of the gallery from a distance.
7. Hammock Gallery / White Hammock in the Woods
SUEP
Aerial view of the building
Japan's SUEP's latest project in Fukuoka has just been completed, a small art gallery located in the park's camphor forest. The architects call this gallery the Hammock Gallery - the gallery looks like a big white hammock in the forest.
Resting platform
The roof and floor of the gallery are steel, and the walls between them are concrete. Because of gravity, the roof and floor are slightly curved downward to form a shallow double arc.
Building night view
The gallery's site is cut by trees, a state of intersection that makes viewing the paintings as comfortable as lying in a hammock in the forest.
8. COCOCHI Cozy Gallery / Nature-friendly social place
UIDEntrance night view
The project is located in an area where there is an urgent need for a community center that provides workshops and a place for individuals and groups. The cozy wooden gallery "UTSUWA" took up this responsibility.
Outside and Inside
Sparse vertical wooden louvers are installed along the street façade of the gallery building. These louvers provide proper shading for the building and create a buffer zone between the interior and exterior spaces. Green plants grow densely under the louvers, and the space is in a friendly and natural state.
Indoor multifunctional space
03 Can a gallery be without paintings?
After years of precipitation and staining, the gallery has become a classic and popular art form, with specific value both for architectural carriers and artistic presentation.
Serpentine Gallery Works 2016
First of all, the artworks mainly displayed in galleries are generally two-dimensional hanging art, in which people's eyes are panning and flowing on a uniform horizontal line in the process of enjoying the paintings.
Architecture, on the other hand, is a spatially experienced art, so for architecture, paintings do not share people's sense of cognition of three-dimensional space, but rather the architectural experience and visual enjoyment complement each other in a collision.
Secondly, the difference between a gallery and an art museum is that a gallery is more like a small, temporary installation art. Compared to the heavy body of an art museum, a gallery can be free from the constraints of form and thus present more diffuse possibilities.
Serpentine Gallery Works 2015
Similar to a salon, the gallery was born not only as an exhibition, but also as a social center with experience, discussion and rest.
Perhaps the reason why many artists prefer galleries is that they are a place of frequent and rich artistic exchanges. When the gallery's exhibition period is over, it can also immediately change its operation to achieve functional replacement.
The gallery itself is an artwork, and a gallery can even be a pure art sanctuary by virtue of the spiritual refuge that the space provides.
Article Source:匠山行记
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