Serpentine PavilionSerpentine Pavilion

Serpentine Pavilion 2011 | Peter ZumthorLocation: Kensington Gardens, London, United KingdomGarden Design: Piet Oudolf

Research Statement:The goal of my research was to discover the inherent qualities of architectural atmosphere and how

Peter Zumthor uses aspects such as material, light, nature, and form to enhance particular atmospheres.

Background:This building was designed as a temporary display for the annual Serpentine Pavilion gallery. The

Serpentine Galleries are designed to be constructed in 6 months and deconstructed at the end of the

summer. Peter Zumthor was awarded the 2011 honor and designed the pavilion to act as a “garden

within a garden.” This concept came from the pavilion’s location in the heart of Kensington Gardens

within London.

Climate: Latitude - 51.50° N, Longitude - 0.175° W

London has a warm, temperate climate and is generally overcast. There is medium to high average

rainfall with Western summer winds.

Concept and Atmosphere:Completely exposed to the elements, the interior courtyard, containing wild vegetation designed

by Piet Oudolf, creates a strong, contemplative atmosphere. Zumthor achieved this through using

climate, daylight, materiality, and form to provoke the senses and heighten the experience of

individual journey. The circulation from exterior, to skinny interior hallway, to expansive, interior

garden creates various thresholds enhanced by light.

Exterior GardenLight Atmosphere: DiffuseLow Light IntensityHigh Light LevelVisitors enter the building through the organic looking concrete pavement. The dark materialcontrasts heavily with exterior green landscape.

HallwayLight Atmosphere: DynamicHigh Light IntensityLow Light LevelVisitors then enter the dark hallway which lines the pavilion’s perimeter. The openings along the hall heighten the dynamic contrast of light.

Interior GardenLight Atmosphere: DirectMedium Light IntensityMedium Light LevelFinally visitors arrive upon the interior garden, which is wild and tall. The roof gives coverage while views of the sky give a sense of openness.

Thresholds & Light:

London Kensington Gardens

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C

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A

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Garden Within A GardenPeter Zumthor aimed to create a variation on the hortus conslusus. This concept from the Middle Ages created space as a garden for reflection with only the sky as its ceiling. Zumthor believed that this garden is the basis for the senses. The way in which movement, material, and light enhance the garden is what inclines its visitors to sit, wait, think, and contemplate the life that fills the space.

Senses are key to setting up this contemplative atmosphere. First visitors are taken into the thin hallway, which is the perimeter of the building. The hallway separates its visitors from the well-groomed exterior of Kensington Gardens. In this, layers ofcontrast are revealed. Light and dark layers respond to the dark materiality of thehallway. This built environment contrasts heavily from the exterior vegetation and sets up a sense of isolation and inner reflectance. As an exterior membrane, the hallway is also a barrier that nullifies all outside noise and distraction within the inner garden.

The dark qualities of the hallway contrast with the bright, interior garden. Thisunexpected reveal of the bright greens and open sky enhance the moment and make the spontaneity of the atmosphere that much stronger. Then one can sit andobserve the garden under the protective shade of the overhang. This play on light and shadow enhance the feeling of an overgrown garden and the comfort that comes with it. Upon sitting on the blue benches, one can see all that is around them and contemplate that which makes this space so inherently beautiful and unique.

Analyzing DaylightThe Serpentine Pavilion is open from July 1st through October 16th. Both its open roof form and 54o orientation allow direct light into theinner courtyard during the summer solstice and equinox. Because of theimmense light that enters the inner courtyard, the garden is typically in the IES Illuminance Category G. This category is mostly forvisual tasks near thresholds. In contrast is the hallway, which is typically in the IESIlluminance Category E. This category is mostly for visual tasks of high contrast and small size. Both categories work well for the intended use of the pavilion.

Materiality:Peter Zumthor focuses heavily on materiality within hisbuildings. He selected timber framing coated in scrim and darkidenden to entice and intrigue visitors. The scrim gives the wallstouch-ability while the dark color gives the space a sense of mystery thatinvites one in. Zumthor’s material choice also sets up several forms ofjuxtaposition that enhance the interior courtyard’s organic spatiality andcontemplative atmosphere. This juxtaposition creates “layers” of builtenvironment that make the final destination to the garden a unique and unforgettable experience.

Key (Lux)

View A - August 21st at 14:00

View B - August 21st at 14:00

View C - August 21st at 14:00

August 21st at 14:00 (a)

August 21st at 14:00 (b)

August 21st at 14:00 (c)

Concept of Enclosure to Create a Contemplative Atmosphere

WindRainSense of EnclosureViews Out of the GardenViews Into the GardenViews to the Outside

Key Light Patterns Openings

June - SunsetAzimuth: 130°

September - SunsetAzimuth: 90°

December - SunsetAzimuth: 51°

In Conclusion:Through this research, I have defined atmosphere as “the sensory and physical aspects of a space that evoke a spontaneous emotional response.” After analyzing Peter Zumthor’s SerpentinePavilion, as well as two qualitative comparative studies on the Bruder Klaus Chapel and St. Benedict’sChapel, I have come to the conclusion that form, materiality, landscape, and particularly lighting, are four major contributors to provoking these specific atmospheres. Zumthor uses juxtaposition of form, materiality, nature, and light to enhance the contemplative atmosphere of the inner garden. As alandmark in the heart of London, the 2011 Serpentine Pavilion allows all who enter to be relieved of their daily stress in the city and connect back to the roots of nature in a safe and contemplative space.

August 21st

July 21st

September 21st

October 21st

8:00 12:00 16:00

9:00 12:00 15:00

August 21st

July 21st

September 21st

October 21st

EquinoxSun Angle: 38°

Summer SolsticeSun Angle: 61°

Winter SolsticeSun Angle: 14°

View D

Construction Detail Drawn By Ed Clark, Engineer, Arup London