The Serpentine Pavilion has always been a stage for architectural theatrics, a summer spectacle where designers flex their creative muscles. But this year’s installment by Lanza Atelier feels like a quiet rebellion against the very essence of the event. Instead of the expected avant-garde spectacle, they’ve given us a wall. A wavy, rust-colored brick wall.
A Wall That Whispers, Not Shouts
What’s fascinating about this choice is its subtlety. In an era of architectural pyrotechnics, Lanza Atelier has opted for a form that’s both ancient and humble. The ‘crinkle-crankle’ wall, with its delightful onomatopoeic name, is a historical oddity, a relic of Dutch engineering in rural England. But it’s also a global citizen, found in Mexico and even ancient Egypt.
Personally, I think this speaks to a deeper trend in architecture: a yearning for connection to the past, a desire to reclaim forms that feel grounded and human-scale. In a world dominated by glass and steel, brick feels like a rebellion, a reminder of the tactile and the enduring.
The Genius of Simplicity
What makes this wall particularly brilliant is its structural elegance. Its undulating form isn’t just aesthetic; it’s functional. The curve provides stability, eliminates the need for buttressing, and even harnesses the sun’s warmth. It’s a masterclass in doing more with less, a principle often overlooked in our era of architectural excess.
This raises a deeper question: have we forgotten the beauty of simplicity? In our pursuit of the novel and the shocking, have we lost sight of the power of forms that are both practical and poetic?
Walls as Unifiers, Not Dividers
The timing of this pavilion is particularly poignant. Walls, in recent years, have become symbols of division, of fear and exclusion. Lanza Atelier’s wall, however, is an invitation. It’s a gathering place, a series of intimate rooms that encourage connection.
This is a powerful statement, one that challenges our preconceptions. Walls don’t have to be barriers; they can be thresholds, spaces of encounter. It’s a message that feels especially relevant in today’s polarized world.
Brick’s Unexpected Renaissance
The use of brick is another stroke of genius. It’s a material so ordinary, so ubiquitous, that it’s often overlooked. Yet, in Lanza’s hands, it becomes extraordinary. The way they’ve laid the bricks, ribbed sides out, creates a texture that’s almost textile-like, a subtle subversion of expectations.
What this really suggests is that innovation doesn’t always require new materials or technologies. Sometimes, it’s about seeing the familiar in a new light, about finding the extraordinary within the ordinary.
A Pavilion That Whispers to Its Surroundings
The pavilion’s design is also a masterclass in contextual sensitivity. The wavy form echoes the Serpentine pond, the brickwork nods to the neighboring gallery, and the overall aesthetic feels in dialogue with the Victorian architecture of South Kensington.
This is architecture that listens, that responds to its environment rather than imposing itself upon it. It’s a refreshing change from the ego-driven designs that often dominate the Serpentine stage.
A Thoughtful Provocation
Lanza Atelier’s Serpentine Pavilion is more than just a temporary structure; it’s a provocation. It challenges our notions of what architecture can be, what materials can achieve, and what walls can represent.
In a world obsessed with the new and the shiny, this pavilion is a reminder of the power of the old, the simple, and the humble. It’s a celebration of the brick, the curve, and the human touch. And in its quiet way, it’s one of the most radical Serpentine Pavilions in years.
