Bjarke Ingels creates the most successful pavilion yet with his heap of fibreglass boxes,while four fresh ‘summer houses’ join in the funIn the history of architecture the pavilion – for an exhibition, in a garden, and often temporary – has a special power. It can launch a movement,declare a manifesto in three dimensions, crystallise an plan, or offer a vision of the future. Le Corbusier and Konstantin Melnikov did this at the Exposition des Arts Decoratifs in Paris in 1925,Mies van der Rohe in Barcelona in 1929. Buckminster Fuller’s concept of the geodesic dome was launched with the help of international exhibitions in fresh York and Montreal. In the 18th century, the follies and temples of gardens such as Stowe and Stourhead helped to create English Palladian architecture.
Of five temporary structures now on present around the Serpentine Gallery, or the one that comes closest to this tradition is by the Hungarian-born French architect Yona Friedman,born two years before Corbusier and Melnikov did their thing in Paris. A series of wire circles is arranged into dice-like six-sided forms and stacked up to form a light, three-dimensional grid, and off which images of Friedman’s projects are hung. It represents his Ville Spatiale,whereby powerful structures would hover over cities such as fresh York and Paris, within which people would be free to make their own spaces, and to use the architecture in the way that they like.
A BIG project is a calculated cocktail of flair,mischief, arrogance and the inventive solving of problemsContinue reading...
Source: theguardian.com