2011 lawn programme press pack final 24-06-11

8/2/2019 2011 Lawn Programme Press Pack Final 24-06-11

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PRESS PACK

SERPENTINE GALLERY PAVILION 2011DESIGNED BY PETER ZUMTHOR

1 JULY 16 OCTOBER 2011

Contents

1. Note to Editors p22. Press Release p33. Architects Statement p54. Essay: Alexander Kluge p75. Fact Sheet p106. Plant Information p117. Biographies p128. Projects by Peter Zumthor p139. Serpentine Gallery Pavilion 2000 2011 Key Facts p1410.Project Team and Advisors p1511.Serpentine Gallery Pavilions 2000 - 2010 p1612. About the Serpentine p1812.Sponsors and Supporters p19

Press contacts:Tom Coupe, 020 7298 1544, [email protected] Dempsey, 020 7298 1520, [email protected] Bolton, Bolton & Quinn, 020 7221 5000, [email protected]

Image downloads: www.serpentinegallery.org/press

Previous Serpentine Gallery Pavilions: www.serpentinegallery.org/architecturePress View: 10am 12pm Monday 27 June 2011


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Important Note to Editors

The realisation of the Serpentine Gallery Pavilion 2011 has only been made possible thanks tothe enormously generous contribution of companies and foundations that have pledged

sponsorship, support or sponsorship help-in-kind to the project. The Serpentine has nobudget for this annual architecture commission and must raise all monies to make the schemea reality.

We would be very grateful if you could acknowledge and credit in print the Pavilions principalsponsors in your coverage of the project:

Sponsored by Maybach

Advisors ArupStanhope plc

Platinum Sponsor Mace Group

Julia Peyton-Jones Hans Ulrich ObristDirector, Serpentine Gallery Co-Director of Exhibitionsand Co-Director, Exhibitions and Programmes andand Programmes Director of International Projects


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Serpentine Gallery Pavilion 2011Designed by Peter Zumthor1 July 16 October 2011

The Serpentine Gallery Pavilion 2011 is designed by world-renowned Swiss architect PeterZumthor. This years Pavilion is the 11th commission in the Gallerys annual series, theworlds first and most ambitious architectural programme of its kind. It is the architects firstcompleted building in the UK and includes a specially created garden by the influential Dutchdesigner Piet Oudolf.

At the heart of Peter Zumthors Pavilion is a garden that the architect hopes will inspirevisitors to become observers. Zumthor says his design aims to help its audience take the time

to relax, to observe and then, perhaps, start to talk again - maybe not. The design emphasisesthe role the senses and emotions play in our experience of architecture. With a refinedselection of materials Zumthor creates contemplative spaces that evoke the spiritualdimension of our physical environment. As always, Zumthors aesthetic goal is to customisethe building precisely to its purpose as a physical body and an object of emotional experience.

Zumthor has stated that the concept for this years Pavilion is the hortus conclusus, acontemplative room, a garden within a garden. The building acts as a stage, a backdrop for theinterior garden of flowers and light. Through blackness and shadow one enters the buildingfrom the lawn and begins the transition into the central garden, a place abstracted from theworld of noise and traffic and the smells of London an interior space within which to sit, towalk, to observe the flowers. This experience will be intense and memorable, as will thematerials themselves full of memory and time.


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Materials have always played an evocative as well as an essential role in the buildings designedby Zumthor. The 2011 Pavilion is constructed of a lightweight timber frame wrapped with scrimand coated with a black Idenden over scrim. Exterior and interior walls with staggereddoorways offer multiple paths for visitors to follow, gently guiding them to a central, hiddeninner garden. The covered walkways and seating surrounding this central space create aserene, contemplative environment from which visitors look onto the richly planted sunlit

garden, the heart and focus of the building.With this Pavilion, as with previous structures such as the famous Thermal Baths at Vals,Switzerland, or the Bruder Klaus Chapel in Mechernich, Germany, Zumthor has emphasisedthe sensory and spiritual aspects of the architectural experience, from the precise yet simplecomposition and presence of the materials, to the handling of scale and the effect of light.

Piet Oudolf is a prominent garden designer and a leading figure of the New Perennial plantingmovement. His award-winning designs emphasise the natural architecture of plants, usingexpressive drifts of grasses and herbaceous perennials to create gardens that evolve in formthroughout the lives of the plants. These are chosen for their structure, form, texture andcolour, showcasing many different varieties in his compositions. Oudolf has pioneered anapproach to gardening that embraces the full life-cycle of plants, delighting in their beautythroughout the seasons.

Piet Oudolf said: I am very pleased to be collaborating with Peter Zumthor and theSerpentine Gallery on this years Pavilion and to be part of this exciting project. My work aimsto bring nature back into human surroundings and this Pavilion provides the perfectopportunity for people to reflect and relax in a contemplative garden away from the busymetropolis.

The Serpentines Pavilion commission, conceived in 2000 by Gallery Director Julia Peyton-Jones, has become an international site for architectural experimentation and follows a decadeof Pavilions by some of the worlds greatest architects. Each Pavilion is sited on the Galleryslawn for three months and the immediacy of the commission a maximum of six months frominvitation to completion provides a unique model worldwide.

Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Gallery, said:It is an honour and a great joy to be working with Peter Zumthor on the 11th SerpentineGallery Pavilion. The commission allows us to connect with the best architects in the worldand each year is an exciting and completely new experience. Zumthors plans will realise anexquisite space for the public to enjoy throughout the summer.

Zumthors Serpentine Gallery Pavilion will operate as a public space and as a venue forPark Nights, the Gallerys high-profile programme of public talks and events. Park Nightswill culminate in the annual Serpentine Gallery Marathon in October, now in its sixth year.In 2006 the Park Nights programme included the renowned 24-hour Serpentine GalleryInterview Marathon, convened by Hans Ulrich Obrist and architect Rem Koolhaas; in 2007,the Serpentine Gallery Experiment Marathon presented by artist Olafur Eliasson and Hans

Ulrich Obrist; in 2008, Obrist led over 60 participants in the Serpentine Gallery ManifestoMarathon. These were followed in 2009 by the Serpentine Gallery Poetry Marathon and in2010 by the Serpentine Gallery Map Marathon.


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Architects Statement

Hortus conclusus

We come from nature and we return to nature; we are conceived and born; we live and die; werot or burn and vanish into the earth. I rarely thought about such things when I was young.Now I do. I see a great cycle and I am part of it. For a little while, I am here. I did not existbefore my time and I will no longer exist after my time. But in my time, I belong to the processof life on this planet; for a little while I am part of the organism of human beings, animals andplants that exists on this planet and that passes life on.

Looking back I realise that I have always taken plants for granted; they were part of mysurroundings; they were self-evident and I enjoyed them as meadows, gardens or woods. Thathas changed. I have become more attentive to the plant world even though I never studied itand know only a few plants by name. But I like being with them. To me, their presence isquieting.

Plants embody everything that I like to have around me: presence, personality, character. Theyare supple and therefore strong, yet softly-spoken and gentle; they are fragrant and delicate;they have movement, colour, structure, scale and proportion. Plants are large in form, tiny indetail and always a single whole. Plants are beautiful in sun and rain, in tropical heat, fightingimmortal cold, dancing in the wind, buffeted by storms.

Plants have long been part of the earths history. They come from afar. Their beauty is deepand beyond question. It can be overwhelming; their fragrance beguiling. I look at my gardenand I see vibrancy, opulence, serenity; I see dignity, playfulness, infinite tenderness, thenodding kindness of Herb Roberti, and in the larger, beautiful picture, I discover small, modestdots of colour that enhance the luxuriant whole.

Landscapes mark the surface of the earth. Billions of plants react to sun, wind and weather, toheat and humidity, to drought and cold, to the nature of the soil in which they grow; theyceaselessly converge to form new plant societies and landscape ensembles. They are infinitein number and variety; they grow naturally and are influenced by us: oases, steppes, forests,wetlands, meadows, moors, landscaped parks. And there are gardens: herb gardens, kitchengardens, vegetable gardens, flower gardens, rose gardens, pleasure gardens. Every namelisted here evokes a distinct image; with each of them I associate specific lighting, smells andsounds, many kinds of rest, and a deep awareness of the earth and its flora.

A garden is the most intimate landscape ensemble I know of. It is close to us. In it we cultivatethe plants we need. A garden requires care and protection. And so we encircle it, we defend itand fend for it. We give it shelter. The garden turns into a place.

Enclosed gardens fascinate me. A forerunner of this fascination is my love of the fencedvegetable gardens on farms in the Alps, where farmers wives often planted flowers as well.I love the image of these small rectangles cut out of vast alpine meadows, the fence keepingthe animals out. There is something else that strikes me in this image of a garden fencedoff within the larger landscape around it: something small has found sanctuary withinsomething big.

The hortus conclusus that I dream of is enclosed all around and open to the sky. Every time Iimagine a garden in an architectural setting, it turns into a magical place. I think of gardensthat I have seen, that I believe I have seen, that I long to see, surrounded by simple walls,columns, arcades or the faades of buildings sheltered places of great intimacy where I wantto stay for a long time.


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The centre of my pavilion is a garden; it invites us to gather around. We will meet in thegarden. I am looking forward to the natural energy and beauty of the tableau vivant of grasses,flowers and shrubs that Piet Oudolf has created and will plant for our hortus conclusus.I am looking forward to the colours and shapes, the smell of the soil, the movement of theleaves, the scent of the Bugbane and Joe Pye Weed. Piet tells me that butterflies and beeslove their smell.

Peter Zumthor

Haldenstein, May 2011


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Inside Every Person (However Serious or Playful)Lies an Enclosed Garden

Alexander Kluge

Monasteries in medieval Europe were wells in which the clear waters of antiquity mingled withthe dark waters of faith. At the centre of these monasteries was a garden, the most importantpart of which was enclosed. It was here that the most beautiful plants and medicinal herbswere concentrated. Learned monks and abbots could be found here at appointed times. Thegardens were not everyday places and were timeless insofar as they were not subject to ritual.Known as hortus conclusi, such gardens were dedicated to the Blessed Virgin, but exposed tothe texts of Homer, Ovid or the Gnostics if the powerful were not careful. In them the mythicalunicorn also dwelt, a creature which can now only be found on British coats-of-arms.

One must imagine the earth in early times before civilisation itself. It was more barren than wethink. That is true of the watery deserts of the oceans, of the steppes and of the jungles inwhich either too little or too much grows. Only seldom, but then with startling beauty, did

nature also create her gardens: oases, meadows, valleys. These natural gardens are thetemplate for all gardens. They are not pious; they are the art of nature.

Now people enter the picture. Evolution has brought forth two kinds of animals: prairieanimals and cave animals. Our forefathers divided themselves into these two types. In themodern human being, however, they no longer exist side-by-side but intertwine. A modernhuman being needs both: a house (cave) and a horizon (field).

Gardens differ on account of these two necessities. There are open gardens, which, like theEnglish garden, embrace an abundance of nature. Then there are the enclosed gardens, suchas the sacred groves of Hlderlin, the hortus amoenus (garden of the senses), a garden full ofweeds, or the gardens of mock ruins that were fashionable in the eighteenth century. Unlikefields, their surfaces have nothing to do with usefulness. They distinguish themselves fromhouses and greenhouses in knowing no sense of time and in existing without human beings.They just wait. They are a late echo of that paradise in which, for a time, two people lived inharmony with nature and did not regard themselves as the most important beings.

These gardens are also inside people. There are the sayings: My brain is like a freshly rakedgarden, used whenever you feel at one with yourself, or I went for a walk in the gardens of myimagination. There is also, if natures powerful paw has struck, as it did recently inFukushima, the Japanese garden, which signifies unshakable calm in the face of extremedanger, because there is a place within that is ordered, like a garden. The Hanging Gardens ofSemiramis are one of the Seven Wonders of the World. Even as a child I wanted to know whatkind of gardens they were. And I still do. We could also talk about a utopia or a heterotopia inwhich, instead of daily media reports, there are gardens of information.

The creation of gardens is a branch of architecture, of town planning, but not of agriculture.For this reason, the Dutch tulip fields of early capitalism (whose ultimate product would beLondons tulip mania) are not gardens. Nurseries and the silk farms of the mercantile period incentral Europe are good investments rather than gardens. True gardens are a luxury just asthe cities of the Renaissance once were. To this day, special gardens are found in themetropolis. Central Park in New York is no agora it is more suited to getting a breath of freshair than to business.

The most successful gardens adhere to the Classical ideal according to which the gardenshould reflect the complexities of character of the person who takes pleasure in spending timewithin it. InDie Serapionsbrder(1819), the poet E.T.A. Hoffmann describes the housebelonging to the character Councillor Krespel. This man has been of service to his Count and,as a reward, he is permitted to build himself a house at the expense of that gentleman. First,he has a compact, square building constructed. Then, he tells the builders how he imagines


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the entrance, rooms, hallways, bathrooms and windows should look. These are subsequentlymodelled to fit into the solid entity according to Krespels feeling for proportion, until thehouse and the person become identical. The hortus conclusus is just such a concentration ofidentity: an intimate setting that not only stems from the eighteenth century revival ofclassicism, but also offers an entry to heaven. It is a precursor of individualism, but hasunmistakable traits in a way individualism never can.

This is how people interact with gardens. In the hortus conclusus, or Marys little garden, theynot only encounter nature, but also the Mother of God although it is quite possible that theMother of God could metamorphose into ArtemisDiana of the Crescent Moon, you can neverknow. And if AthenaMinerva were to live in the same garden it would explain whyphilologists, those gardeners of words, love the hortus conclusus.

I was touched to learn that Peter Zumthor is building this years Serpentine Gallery Pavilion asa hortus conclusus. And Ill own up to my own special interest at the outset. In the professionin which I work the production of moving images we are experiencing a repeat, albeit athigh speed, of the evolution from primordial nature to modernity described above. TheInternet has increased participation in the public sphere exponentially (far more than was thecase with the revolution heralded by Johannes Gutenbergs invention of the printing press).For this reason, it is all the more important to relate the garden islands that emergespontaneously to the concept of the garden more generally. Thus my friends and I at theDevelopment Company for Television Programmes (DCTP) are working on Gardens ofInformation. Our guiding principle is to rescue facts from human indifference. Or, put anotherway: to make gardens out of raw material and the bare bones of information. Nature shows ushow its done by producing coral reefs in nutrient-deficient waters. Ancient civilisations didsomething similar when, in the third century BC, they built the great Library of Alexandria inan age of illiteracy. What can stand emblematically in the twenty-first century for thisrelationship between the barren wastes on the one hand, and the happy isle on the other? Onepossibility is the emblem of the hortus conclusus, the enclosed garden. The fact that anarchitect of Zumthors stature is building a temple to this principle delights me.

Those of us on the cinematographic front line could do with an architect like Zumthor to showus how to unite mind and eye, and to help us find a context from which to understand theconfusing realities of our age. This cant be achieved through superstructures, pyramids,concepts or by building a roof over our heads. It is only possible through inclusive structures(just as an insect from the distant past is found in amber, a natural art work). The hortusconclusus is inclusive in this way. Vast reserves of energy, of the kind described by the greatRenaissance physician, botanist and alchemist Paracelsus, are contained within them: smallnumbers of such magical places can have unpredictably powerful effects around the world.

In the beginning, our predecessors wrested fertile fields from nature. Then fields-upon-fieldsbecame cities. Without piety, these culminated in Babel, a single enormous tower that begetsthe confusion of language. For this reason, civilisation and societies need ground that isuncultivated, gaps that are not subject to the principle of utility, something that is sufficientunto itself, which we do not consume: a sacrifice. Cities need spaces of piety. As thesociologist Richard Sennett puts it: We need places in which we can also engage in acts ofmourning. Yet, such places are rare. Sennett calls for architects to produce these spaces, aswell as to create horti amoeni(pleasant places) and environments in which music can beplayed that are not simply concert halls. These are, I believe, the most important aspects ofthe hortus conclusus.

The term hortus conclusus is often translated as meaning a serious place. Yet, as SigmundFreud observed in relation to children, seriousness and playfulness are not opposites. Thesame, he claimed, could be said for the arts. Each is only intensely real when in the otherscompany. The hortus conclusus is the ideal place for them to meet.

Excerpt from catalogue: Peter Zumthor, Serpentine Gallery Pavilion 2011Translatedby Martin Brady & Helen Hughes


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Fact Sheet

Public opening dates 1 July 16 October 2011

Construction period 19 May 27 June 2011

Overall site area 960 sqm

Dimensions of Pavilion 390 sqm (gross) 252 sqm internal garden space (net) 100 sqm transition space (net) 5.5 m height pavilion facade 2.7 m min height internal garden space

Structure and materials Concrete strip foundations Timber frame super structure Sheet plywood covering Skin, black Idenden over scrim Bench, Prussian blue stained timber Floor, black Idenden with sand over scrim

Lighting Recessed spot lights under cantilever soffit in internal garden space Pendant lighting External festoon lighting

Colour scheme Black Idenden over scrim across entire pavilion, inside and outside, excluding

the bench. Bench, Prussian blue stained timber

Garden Richly planted shrubs, flowers, grasses, according to the instruction of Piet Oudolf.

Furniture Zinc coated steel table, folding Zinc coated steel chair, canvas seating, folding


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Plant Information

Plants chosen by Piet Oudolf for the Serpentine GalleryPavilion Garden

Aconitum wilsonii BarkersAnemone x hybrida Honorine JobertAngelica archangelicaAster macrophyllus TwilightAstrantia major ClaretCimicifuga (Actaea) ramosa James ComptonDeschampsia GoldschleierDigitalis ferruginea GiganteaEupatorium maculatum RiesenschirmEuphorbia Kings CapleFestuca ovinaGeranium psilostemon PatriciaHeuchera villosaIris sibirica Perrys BlueKirengeshoma palmataLiriope muscari Big BlueLobelia x VedrariensisMolinia Edith DudszusMolinia litoralis TransparentPersicaria amplexicaulis AlbaPolystichum setiferum HerrenhausenRodgersia pinnata SuperbaSanguisorba canadensisScutellaria incanaSelinum wallichianumStachys officinalis HummeloThalictrum rochebrunianumTricyrtis formosana


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BiographiesPeter ZumthorBorn in Basel in 1943, grew up in Oberwil, Baselland, married to Annalisa Zumthor-Cuorad.

Children: Anna Katharina, Peter Conradin and Jon Paulin Zumthor. Trained as cabinetmaker,1958-62, at the shop of his father Oscar Zumthor, and as designer and architect, at theKunstgewerbeschule Basel, 1963-67, Vorkurs und Fachklasse, as well as at the Pratt Institute,New York.

As from 1967, employment as building and planning consultant and inventarisator ofhistorical villages with the Department for the Preservation of Monuments, Canton ofGraubnden, Switzerland; in addition the realisation of some renovations.In 1979, establishes his own architectural practice in Haldenstein, Switzerland.Visiting professor at Southern California Institute of Architecture, SCI-ARC, Los Angeles,1988; at the Technische Universitt Munich, 1989, and at the Graduate School of Design,GSD, Harvard University, Boston, 1999. 1996-2008 professor at the Accademia di architettura,Universit della Svizzera italiana, Mendrisio.

Important buildings: Zumthor Studio, Haldenstein, Switzerland, 1986; Protective Housing forRoman Archaeological Excavations, Chur, Switzerland, 1986; Sogn Benedetg Chapel,Sumvitg, Switzerland, 1988; Homes for Senior Citizens, Chur, Masans, Switzerland, 1993;Gugalun House, Versam, Switzerland, 1994; Spittelhof Estate, Biel-Benken, Switzerland, 1996;Therme Vals, Switzerland, 1996; Kunsthaus Bregenz, Austria, 1997; Swiss Sound Box, SwissPavilion Expo 2000, Hanover, Germany, 2000; House Luzi, Jenaz, Switzerland, 2002; HouseZumthor, Haldenstein, Switzerland, 2005; Kolumba Art Museum, Cologne, Germany, 2007;Bruder Klaus Field Chapel, Wachendorf, Germany, 2007; Log houses for Annalisa and PeterZumthor, Unterhus and Oberhus, Vals, Leis, Switzerland, 2009.

Piet OudolfPiet Oudolfs projects include the internationally renowned High Line in New York, whichinvolved planting along a railway line that winds through the city. Combining minimalism withecology, this garden was conceived of as a series of interwoven elements that lead visitorsalong a richly planted path. Other notable designs include the Lurie Garden in Millennium Park,Chicago; Wisley, the Royal Horticultural Society Garden in Surrey; Il Giardino delle Vergini atthe 2010 Venice Biennale; and his own innovative garden in Hummelo, The Netherlands. He isthe recipient of numerous awards including the 2010 Award of Distinction by the Association ofProfessional Landscape Designers and the 2009 Dalecarlica Award, Sweden. Oudolfs gardenwas also awarded Best in Show at the 2000 Chelsea Flower Show, London. In 2010 he wasnamed as one of the 100 Most Creative People in Business by Fast Company.


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Projects by Peter Zumthor

Bruder Klaus Field Chapel, Wachendorf, Germany, Kolumba Art Museum, Cologne, Germany, 20072007

Kunsthaus Bregenz, Austria, 1997 Therme Vals, Switzerland, 1996


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Serpentine Gallery Pavilions 2000 2010Key Facts

Landmark temporary structures by internationally renowned designers who have yet to complete abuilding in England

Unique initiative worldwide, which has resulted ineleven temporary buildings for LondonOperates as a public space by day and a forum for Park Nights series, the Marathon and other

events

Annual commission conceived by the Serpentine Gallery Director, Julia Peyton-JonesTimescale:

Each Pavilion project, from commission to completion, takes six months

The Pavilion designers to date:Zaha Hadid, 2000Daniel Libeskind with Arup, 2001Toyo Ito with Arup, 2002Oscar Niemeyer, 2003MVRDV with Arup, 2004 (unrealised)lvaro Siza and Eduardo Souto de Moura with Cecil Balmond, Arup, 2005Rem Koolhaas and Cecil Balmond Arup, 2006Olafur Eliasson and Kjetil Thorsen, 2007Frank Gehry, 2008Kazuyo Sejima and Ryue Nishizawa of SANAA, 2009

Jean Nouvel, 2010

Budget:There is no budget for the Serpentine Gallery Pavilion commission. It is paid for bysponsorship, sponsorship help-in-kind, philanthropists, trusts, foundations and thesale of the finished structure, which does not cover more than 40% of its cost.

Park Nights is an annual series of music, theatre, performances, talks and film screenings stagedon Friday nights in the Serpentine Gallery Pavilion, designed by Peter Zumthor. The season willculminate on the weekend of 15 and 16 October with the Garden Marathon, the latest in theSerpentines series of Marathon events conceived by Gallery Co-Director, Hans Ulrich Obrist.

In 2006 the

Park Nightsprogramme started with the renowned 24-hour

Serpentine Gallery Interview

Marathon, convened by Hans Ulrich Obrist and architect Rem Koolhaas and was followed, in 2007,by the Serpentine Gallery Experiment Marathon presented by artist Olafur Eliasson and Obrist,which featured experiments performed by leading artists and scientists. In 2008, 60 participantswere included in the Serpentine Gallery Manifesto Marathon, 2009 saw the Serpentine Gallery PoetryMarathon and 2010 The Marathon of Maps for the 21 Century was held at the Royal GeographicalSociety.


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Serpentine Gallery Pavilion 2011Project Team and Advisors

Client: Serpentine GalleryJulia Peyton-Jones, DirectorHans Ulrich Obrist, Co-DirectorJulie Burnell, Project Leader

AdvisorsLord Palumbo, Chairman, Serpentine Board of TrusteesZaha Hadid, Architect, Serpentine Board of TrusteesPeter Rogers, Director, Stanhope PlcColin Buttery, Director of ParksWestminster City Council Planning OfficeWestminster City Council District Surveyors Office (Building Control)Westminster City Council (Licensing Authority)London Fire and Emergency Planning Authority

London Region, English HeritageFriends of Hyde Park and Kensington Gardens

ArchitectPeter Zumthor

GardenPiet Oudolf

Ateliers Peter Zumthor & PartnerAnna Page, Project ArchitectPetra StiermayrKlemens Grund

Project & Construction Management: MACEStephen PycroftGareth LewisPhil SolomonBenn ChandlerIan Smith

Engineering: ArupDavid GloverEd ClarkGraham Hennessy

Chris Neighbour

Town Planning Consultants: DP9Barnaby CollinsJames Penfold


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Serpentine Gallery Pavilions 2000- 2010Serpentine Gallery Pavilion 2000Designed by Zaha Hadid

Briefly brilliant

The Guardian

Serpentine Gallery Pavilion 2001Designed by Daniel Libeskind withArup

Temporary structures like Eighteen Turns aregreat additions to our parks and cityscapes theycan offer us adventurous, alternative and evenradical impressions of what a new architecture

might be.The Guardian

Serpentine Gallery Pavilion 2002Designed by Toyo Ito with Arup

Why cant all new buildings be this good? Toyo

Itos magical summer pavilion at the SerpentineGallery is a lesson in imagination.Evening Standard

Serpentine Gallery Pavilion 2003Designed by Oscar Niemeyer

Imagine Garbo or Sinatra in their prime, and

performing now. With this weeks opening of

the 2003 Serpentine Gallery Pavilion, just sucha time-warping miracle is taking place.Evening Standard

Serpentine Gallery Pavilion 2005lvaro Siza and Eduardo Souto deMoura with Cecil Balmond ArupThe temporary pavilion has become unmissable,a rare opportunity to view the work of the finest

international architects at first hand. This is howarchitecture should be exhibited and remembered.

Financial Times


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Serpentine Gallery Pavilion 2006Rem Koolhaas with Cecil Balmond

Arup

A helium roof that rises and falls with the

weather? Rem Koolhaass Serpentine Pavilionis a joyous extravagance.The Guardian

Serpentine Gallery Pavilion 2007Designed by Olafur Eliasson andKjetil Thorsen

A delightful and beautifully thought-out game.

The Guardian

Serpentine Gallery Pavilion 2008Designed by Frank Gehry

Gehrys name completes a straight flush of the

most feted international architects of the day.

Daily Telegraph

Serpentine Gallery Pavilion 2009Designed by Kazuyo SejimaandRyue Nishizawa of SANAA

mesmerizing, and fun once again, theSerpentine succeeds, big time.

The Times

Serpentine Gallery Pavilion 2010Designed by Jean Nouvel

Transient glory: 10 years of the Serpentinesstar pavilions.The Observer


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About the Serpentine Gallery

The Serpentine Gallery is one of Britain's best-loved galleries, attracting up to 800,000 visitors inany one year. It is one of the top 10 most visited museums and galleries in London (Visit London).

It is the only publicly funded modern and contemporary art gallery in central London to maintainconsistently free admission and to remain open seven days a week with full disability access.

Since 1970, the Serpentine has gained an international reputation for excellence, presentingpioneering exhibitions of 1,500 artists, architects and designers over 41 years. The Gallery, a Grade IIlisted former tea pavilion, underwent a major renovation in 1998 under the Patronage of Diana,Princess of Wales.

In 2010, the Serpentine commissioned 16 major new works by British and international artists,architects and designers.

The Gallerys 2010 summer exhibition, Wolfgang Tillmans, received a record 202,133 visitors over 12weeks, an average of over 2,000 visitors per day.The Serpentine Gallery Pavilion 2010 by Jean Nouvel was the fourth most visited architecture or

design exhibition worldwide (The Art Newspaperannual visitor survey, April 2011).

In 2012, the Serpentine Gallery will open its new space, the Serpentine Sackler Gallery. Thisinnovative arts venue for the 21st century will be housed in the Grade II-listed building formerlyknown as The Magazine, situated in Kensington Gardens.

The annual Serpentine Gallery Pavilion is unique worldwide and presents landmark buildings byinternationally acclaimed architects who have not yet completed a structure in England. It attracts

up to 300,000 visitors in any one year, more than the Venice Architecture Biennales attendance.

The Serpentine pioneers international collaborations between the Gallery, local communities, andworldwide partners. China Power Station, at Battersea Power Station, presented the work of a newgeneration of Chinese artists to the UK public for the first time. Indian Highway is currently touringacross Norway, Denmark, France, Italy, Russia, Hong Kong, Brazil and India.

Anish Kapoor: Turning the World Upside Down, in Kensington Gardens (28 September 2010 to 13March 2011) represents the first time in 35 years that the Serpentine has presented public work inKensington Gardens, in collaboration with The Royal Parks.

The Serpentines Learning Programme is widely recognised as leading the field in art education,providing children and adults of all ages and backgrounds with unique opportunities to work closelywith UK and international artists in the creation of new work commissioned by the Gallery.

The Serpentine engages new and diverse audiences through its Public Programmes of late-nightsummer events, film screenings, performances, free Saturday gallery talks, conferences andsymposia and downloadable artists walks.


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Sponsors and Supporters

The Serpentine Gallery Pavilion is, both artistically and financially, a hugely ambitiousundertaking. The construction and realisation of the Pavilion relies entirely on the support of asignificant group of companies and individuals:

Sponsored by

Maybach created some of the worlds most opulent and luxurious cars of the 1920s and 1930s.Famed for their craftsmanship, exquisite hand-made coachwork and effortless performance,Maybach cars were part of Europes elite society. Today, Maybachs peerless high-end luxurysaloons continue to set the benchmark for comfort, refinement, prestige, power andautomotive noblesse oblige. www.Maybach-uk.com

Advisors

Arup is the creative force behind many of the worlds prominent building, infrastructure andindustrial projects. Globally, we offer a broad range of professional services that combine tomake a positive difference to our clients and the communities in which we work.

2011 marks Arups tenth year of collaboration on design and consulting for the SerpentinePavilion. During the last decade Arup has worked on the pavilions with many of the worldsmost renowned architects, most recently Kazuyo Sejima & Ryue Nishizawa, Frank Gehry and

Jean Nouvel, to deliver a stunning series of avant-garde temporary structures. www.arup.com

Stanhope plc is an inventive developer creating exceptional places in London and the SouthEast. Stanhope plc is proud to support the Serpentine Gallery as one of Londons mostuplifting and inspiring spaces. Since 2001, Peter Rogers, Director of Stanhope plc, hasdonated his expertise to all aspects of the Serpentine Gallery Pavilions and he continues toplay a major role. www.stanhopeplc.com


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Platinum Sponsor

Mace is an international consultancy and construction company with a projected 850mturnover in 2010, employing 3,000 people and operating across 65 countries. Maces corebusiness is programme and project management, construction delivery, cost consultancy andfacilities management, but it is truly multi-disciplinary with services spanning the entireproperty and infrastructure lifecycle.For more information visit: www.macegroup.com

Media Partner

The Independent was launched in 1986 and is one of the only quality newspapers that is freefrom proprietorial influence. Its reputation for unbiased and serious reporting has won itinternational acclaim. In the UK it has a current headline circulation of 181,934 and, togetherwith sister paper i, it now commands a bigger circulation than The Guardian, reaching morethan 350,000 readers a day. The Independent's Editor-in-Chief is Simon Kelner.www.independent.co.uk

Gold Sponsors

Weil, Gotshal & Manges is a leader in the marketplace for sophisticated, international legalservices. With more than 1,200 lawyers across the US, Europe and Asia, the firm serves manyof the most successful companies in the world in their high-stakes matters and transactions.

Weil has built a world-class team of lawyers by pursuing a strategy of steady, purposefulgrowth. The firm is particularly noted for its expertise in corporate governance, businessrestructuring and private equity and now has leading lawyers based in London and around theglobe. www.weil.com

Viabizzuno, a company for 17 years, has been acquiring experience, knowledge and researchto express the best way of designing lights. Designing is a way to establish a relationship withlife. Design is form of the verb to love. www.viabizzuno.com


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Silver Sponsor

Knight Frank LLP is the leading independent global property consultancy. Headquartered inLondon, Knight Frank and its New York-based global partner Newmark Knight Frank operatefrom over 165 offices, in 36 countries, in six continents. For further information about thecompany, please visit www.knightfrank.com

Bronze Sponsors

For the seventh year, DP9 will provide essential town planning assistance with all aspects ofthe Serpentine Gallery Pavilion planning application to Westminster City Council.www.dp9.co.uk

The Landscape Group is an award-winning market leader. We offer a complete range ofGrounds Maintenance, Landscaping and Horticultural services, delivered at a local level andsupported by the resources of a national group.www.thelandscapegroup.co.uk

Providing land surveying and setting out services to prestigious projects nationwide, SES isable to meet clients requirements for all surveying disciplines within the property andconstruction industries. www.sesltd.uk.com

T.Clarke is a nationwide building services group delivering the highest levels of value tobuilding projects, through the full life cycle of design, installation, commissioning andmaintenance. As a market leader, our vision is to grow nationally, whilst retaining the regionalmarket understanding that we have been recognised for throughout our 122 year history.

For further info go to www.tclarke.co.uk


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Additional Supporters

Founded in 1956, the Graham Foundation for Advanced Studies in the Fine Arts makesproject-based grants to individuals and organizations and produces public programs to fosterthe development and exchange of diverse and challenging ideas about architecture and itsrole in the arts, culture, and society. www.grahamfoundation.org

The Swiss Arts Council Pro Helvetia is a foundation under public law, entirely funded by thefederal government. It complements the cultural promotion activities of the cantons andmunicipalities. www.prohelvetia.ch

As part of its cultural and educational programme, the Swiss Cultural Fund in Britainsmission is to engage British audiences with the very best that Swiss culture has to offer. The

Funds support enables young as well as established artists to present themselves to thepublic via a wide range of cultural institutions and venues all over the United Kingdom.www.scfb.org.uk

Serpentine Gallery is funded by

2011 lawn programme press pack final 24-06-11

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