PRESS PACK SERPENTINE GALLERY PAVILION 2011 DESIGNED BY PETER ZUMTHOR 1 JULY 16 OCTOBER 2011

Contents
1. Note to Editors 2. Press Release 3. Architects Statement 4. Essay: Alexander Kluge 5. Fact Sheet 6. Plant Information 7. Biographies 8. Projects by Peter Zumthor 9. Serpentine Gallery Pavilion 2000 2011 Key Facts 10. Project Team and Advisors 11. Serpentine Gallery Pavilions 2000 - 2010 12. About the Serpentine 12. Sponsors and Supporters p2 p3 p5 p7 p10 p11 p12 p13 p14 p15 p16 p18 p19

Press contacts: Tom Coupe, 020 7298 1544, tomc@serpentinegallery.org Rose Dempsey, 020 7298 1520, rosed@serpentinegallery.org Erica Bolton, Bolton & Quinn, 020 7221 5000, erica@boltonquinn.com Image downloads: www.serpentinegallery.org/press Previous Serpentine Gallery Pavilions: www.serpentinegallery.org/architecture Press View: 10am 12pm Monday 27 June 2011

Important Note to Editors

The realisation of the Serpentine Gallery Pavilion 2011 has only been made possible thanks to the enormously generous contribution of companies and foundations that have pledged sponsorship, support or sponsorship help-in-kind to the project. The Serpentine has no budget for this annual architecture commission and must raise all monies to make the scheme a reality. We would be very grateful if you could acknowledge and credit in print the Pavilions principal sponsors in your coverage of the project: Sponsored by Advisors Maybach Arup Stanhope plc Mace Group

Platinum Sponsor

Julia Peyton-Jones Director, Serpentine Gallery and Co-Director, Exhibitions and Programmes

Hans Ulrich Obrist Co-Director of Exhibitions and Programmes and Director of International Projects

Serpentine Gallery Pavilion 2011 Designed by Peter Zumthor 1 July 16 October 2011

The Serpentine Gallery Pavilion 2011 is designed by world-renowned Swiss architect Peter Zumthor. This years Pavilion is the 11th commission in the Gallerys annual series, the worlds first and most ambitious architectural programme of its kind. It is the architects first completed building in the UK and includes a specially created garden by the influential Dutch designer Piet Oudolf. At the heart of Peter Zumthors Pavilion is a garden that the architect hopes will inspire visitors 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 emphasises the role the senses and emotions play in our experience of architecture. With a refined selection of materials Zumthor creates contemplative spaces that evoke the spiritual dimension of our physical environment. As always, Zumthors aesthetic goal is to customise the 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, a contemplative room, a garden within a garden. The building acts as a stage, a backdrop for the interior garden of flowers and light. Through blackness and shadow one enters the building from the lawn and begins the transition into the central garden, a place abstracted from the world of noise and traffic and the smells of London an interior space within which to sit, to walk, to observe the flowers. This experience will be intense and memorable, as will the materials themselves full of memory and time.

Materials have always played an evocative as well as an essential role in the buildings designed by Zumthor. The 2011 Pavilion is constructed of a lightweight timber frame wrapped with scrim and coated with a black Idenden over scrim. Exterior and interior walls with staggered doorways offer multiple paths for visitors to follow, gently guiding them to a central, hidden inner garden. The covered walkways and seating surrounding this central space create a serene, 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 emphasised the sensory and spiritual aspects of the architectural experience, from the precise yet simple composition 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 planting movement. His award-winning designs emphasise the natural architecture of plants, using expressive drifts of grasses and herbaceous perennials to create gardens that evolve in form throughout the lives of the plants. These are chosen for their structure, form, texture and colour, showcasing many different varieties in his compositions. Oudolf has pioneered an approach to gardening that embraces the full life-cycle of plants, delighting in their beauty throughout the seasons. Piet Oudolf said: I am very pleased to be collaborating with Peter Zumthor and the Serpentine Gallery on this years Pavilion and to be part of this exciting project. My work aims to bring nature back into human surroundings and this Pavilion provides the perfect opportunity for people to reflect and relax in a contemplative garden away from the busy metropolis. The Serpentines Pavilion commission, conceived in 2000 by Gallery Director Julia PeytonJones, has become an international site for architectural experimentation and follows a decade of Pavilions by some of the worlds greatest architects. Each Pavilion is sited on the Gallerys lawn for three months and the immediacy of the commission a maximum of six months from invitation 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 Serpentine Gallery Pavilion. The commission allows us to connect with the best architects in the world and each year is an exciting and completely new experience. Zumthors plans will realise an exquisite space for the public to enjoy throughout the summer. Zumthors Serpentine Gallery Pavilion will operate as a public space and as a venue for Park Nights, the Gallerys high-profile programme of public talks and events. Park Nights will 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 Gallery Interview 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 Manifesto Marathon. These were followed in 2009 by the Serpentine Gallery Poetry Marathon and in 2010 by the Serpentine Gallery Map Marathon.

Architects Statement
Hortus conclusus
We come from nature and we return to nature; we are conceived and born; we live and die; we rot 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 exist before my time and I will no longer exist after my time. But in my time, I belong to the process of life on this planet; for a little while I am part of the organism of human beings, animals and plants 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 my surroundings; they were self-evident and I enjoyed them as meadows, gardens or woods. That has changed. I have become more attentive to the plant world even though I never studied it and know only a few plants by name. But I like being with them. To me, their presence is quieting. Plants embody everything that I like to have around me: presence, personality, character. They are 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 in detail and always a single whole. Plants are beautiful in sun and rain, in tropical heat, fighting immortal cold, dancing in the wind, buffeted by storms. Plants have long been part of the earths history. They come from afar. Their beauty is deep and beyond question. It can be overwhelming; their fragrance beguiling. I look at my garden and I see vibrancy, opulence, serenity; I see dignity, playfulness, infinite tenderness, the nodding kindness of Herb Roberti, and in the larger, beautiful picture, I discover small, modest dots of colour that enhance the luxuriant whole. Landscapes mark the surface of the earth. Billions of plants react to sun, wind and weather, to heat and humidity, to drought and cold, to the nature of the soil in which they grow; they ceaselessly converge to form new plant societies and landscape ensembles. They are infinite in 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, kitchen gardens, vegetable gardens, flower gardens, rose gardens, pleasure gardens. Every name listed here evokes a distinct image; with each of them I associate specific lighting, smells and sounds, 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 cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and 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 fenced vegetable 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 keeping the animals out. There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big. The hortus conclusus that I dream of is enclosed all around and open to the sky. Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens that 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 want to stay for a long time.

The centre of my pavilion is a garden; it invites us to gather around. We will meet in the garden. 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 the leaves, the scent of the Bugbane and Joe Pye Weed. Piet tells me that butterflies and bees love their smell. Peter Zumthor Haldenstein, May 2011

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 with the dark waters of faith. At the centre of these monasteries was a garden, the most important part of which was enclosed. It was here that the most beautiful plants and medicinal herbs were concentrated. Learned monks and abbots could be found here at appointed times. The gardens 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 to the texts of Homer, Ovid or the Gnostics if the powerful were not careful. In them the mythical unicorn 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 we think. That is true of the watery deserts of the oceans, of the steppes and of the jungles in which 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 the template 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: prairie animals and cave animals. Our forefathers divided themselves into these two types. In the modern human being, however, they no longer exist side-by-side but intertwine. A modern human being needs both: a house (cave) and a horizon (field). Gardens differ on account of these two necessities. There are open gardens, which, like the English garden, embrace an abundance of nature. Then there are the enclosed gardens, such as the sacred groves of Hlderlin, the hortus amoenus (garden of the senses), a garden full of weeds, or the gardens of mock ruins that were fashionable in the eighteenth century. Unlike fields, their surfaces have nothing to do with usefulness. They distinguish themselves from houses 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 in harmony 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 raked garden, used whenever you feel at one with yourself, or I went for a walk in the gardens of my imagination. There is also, if natures powerful paw has struck, as it did recently in Fukushima, the Japanese garden, which signifies unshakable calm in the face of extreme danger, because there is a place within that is ordered, like a garden. The Hanging Gardens of Semiramis are one of the Seven Wonders of the World. Even as a child I wanted to know what kind of gardens they were. And I still do. We could also talk about a utopia or a heterotopia in which, 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 be Londons tulip mania) are not gardens. Nurseries and the silk farms of the mercantile period in central Europe are good investments rather than gardens. True gardens are a luxury just as the cities of the Renaissance once were. To this day, special gardens are found in the metropolis. Central Park in New York is no agora it is more suited to getting a breath of fresh air than to business. The most successful gardens adhere to the Classical ideal according to which the garden should reflect the complexities of character of the person who takes pleasure in spending time within it. In Die Serapionsbrder (1819), the poet E.T.A. Hoffmann describes the house belonging 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

the entrance, rooms, hallways, bathrooms and windows should look. These are subsequently modelled to fit into the solid entity according to Krespels feeling for proportion, until the house and the person become identical. The hortus conclusus is just such a concentration of identity: an intimate setting that not only stems from the eighteenth century revival of classicism, but also offers an entry to heaven. It is a precursor of individualism, but has unmistakable traits in a way individualism never can. This is how people interact with gardens. In the hortus conclusus, or Marys little garden, they not only encounter nature, but also the Mother of God although it is quite possible that the Mother of God could metamorphose into ArtemisDiana of the Crescent Moon, you can never know. And if AthenaMinerva were to live in the same garden it would explain why philologists, those gardeners of words, love the hortus conclusus. I was touched to learn that Peter Zumthor is building this years Serpentine Gallery Pavilion as a hortus conclusus. And Ill own up to my own special interest at the outset. In the profession in which I work the production of moving images we are experiencing a repeat, albeit at high speed, of the evolution from primordial nature to modernity described above. The Internet has increased participation in the public sphere exponentially (far more than was the case 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 emerge spontaneously to the concept of the garden more generally. Thus my friends and I at the Development Company for Television Programmes (DCTP) are working on Gardens of Information. Our guiding principle is to rescue facts from human indifference. Or, put another way: to make gardens out of raw material and the bare bones of information. Nature shows us how its done by producing coral reefs in nutrient-deficient waters. Ancient civilisations did something similar when, in the third century BC, they built the great Library of Alexandria in an age of illiteracy. What can stand emblematically in the twenty-first century for this relationship between the barren wastes on the one hand, and the happy isle on the other? One possibility is the emblem of the hortus conclusus, the enclosed garden. The fact that an architect 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 show us how to unite mind and eye, and to help us find a context from which to understand the confusing 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 hortus conclusus is inclusive in this way. Vast reserves of energy, of the kind described by the great Renaissance physician, botanist and alchemist Paracelsus, are contained within them: small numbers 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-fields became cities. Without piety, these culminated in Babel, a single enormous tower that begets the confusion of language. For this reason, civilisation and societies need ground that is uncultivated, gaps that are not subject to the principle of utility, something that is sufficient unto itself, which we do not consume: a sacrifice. Cities need spaces of piety. As the sociologist Richard Sennett puts it: We need places in which we can also engage in acts of mourning. Yet, such places are rare. Sennett calls for architects to produce these spaces, as well as to create horti amoeni (pleasant places) and environments in which music can be played that are not simply concert halls. These are, I believe, the most important aspects of the hortus conclusus. The term hortus conclusus is often translated as meaning a serious place. Yet, as Sigmund Freud observed in relation to children, seriousness and playfulness are not opposites. The same, he claimed, could be said for the arts. Each is only intensely real when in the others company. The hortus conclusus is the ideal place for them to meet. Excerpt from catalogue: Peter Zumthor, Serpentine Gallery Pavilion 2011Translated by Martin Brady & Helen Hughes

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 Gallery Pavilion Garden Aconitum wilsonii Barkers Anemone x hybrida Honorine Jobert Angelica archangelica Aster macrophyllus Twilight Astrantia major Claret Cimicifuga (Actaea) ramosa James Compton Deschampsia Goldschleier Digitalis ferruginea Gigantea Eupatorium maculatum Riesenschirm Euphorbia Kings Caple Festuca ovina Geranium psilostemon Patricia Heuchera villosa Iris sibirica Perrys Blue Kirengeshoma palmata Liriope muscari Big Blue Lobelia x Vedrariensis Molinia Edith Dudszus Molinia litoralis Transparent Persicaria amplexicaulis Alba Polystichum setiferum Herrenhausen Rodgersia pinnata Superba Sanguisorba canadensis Scutellaria incana Selinum wallichianum Stachys officinalis Hummelo Thalictrum rochebrunianum Tricyrtis formosana

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Biographies
Peter Zumthor Born 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 the Kunstgewerbeschule 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 of historical villages with the Department for the Preservation of Monuments, Canton of Graubnden, 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 for Roman 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, Swiss Pavilion Expo 2000, Hanover, Germany, 2000; House Luzi, Jenaz, Switzerland, 2002; House Zumthor, Haldenstein, Switzerland, 2005; Kolumba Art Museum, Cologne, Germany, 2007; Bruder Klaus Field Chapel, Wachendorf, Germany, 2007; Log houses for Annalisa and Peter Zumthor, Unterhus and Oberhus, Vals, Leis, Switzerland, 2009.

Piet Oudolf Piet Oudolfs projects include the internationally renowned High Line in New York, which involved planting along a railway line that winds through the city. Combining minimalism with ecology, this garden was conceived of as a series of interwoven elements that lead visitors along 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 at the 2010 Venice Biennale; and his own innovative garden in Hummelo, The Netherlands. He is the recipient of numerous awards including the 2010 Award of Distinction by the Association of Professional Landscape Designers and the 2009 Dalecarlica Award, Sweden. Oudolfs garden was also awarded Best in Show at the 2000 Chelsea Flower Show, London. In 2010 he was named 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, 2007

Kolumba Art Museum, Cologne, Germany, 2007

Kunsthaus Bregenz, Austria, 1997

Therme Vals, Switzerland, 1996

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Serpentine Gallery Pavilions 2000 2010 Key Facts

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

Unique initiative worldwide, which has resulted in eleven temporary buildings for London Operates 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-Jones Timescale:
Each Pavilion project, from commission to completion, takes six months

The Pavilion designers to date:

Zaha Hadid, 2000
Daniel Libeskind with Arup, 2001 Toyo Ito with Arup, 2002 Oscar Niemeyer, 2003 MVRDV with Arup, 2004 (unrealised) lvaro Siza and Eduardo Souto de Moura with Cecil Balmond, Arup, 2005 Rem Koolhaas and Cecil Balmond Arup, 2006 Olafur Eliasson and Kjetil Thorsen, 2007 Frank Gehry, 2008 Kazuyo 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 by sponsorship, sponsorship help-in-kind, philanthropists, trusts, foundations and the sale 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 staged
on Friday nights in the Serpentine Gallery Pavilion, designed by Peter Zumthor. The season will culminate on the weekend of 15 and 16 October with the Garden Marathon, the latest in the Serpentines series of Marathon events conceived by Gallery Co-Director, Hans Ulrich Obrist.

In 2006 the Park Nights programme 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 participants were included in the Serpentine Gallery Manifesto Marathon, 2009 saw the Serpentine Gallery Poetry Marathon and 2010 The Marathon of Maps for the 21 Century was held at the Royal Geographical Society.

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Serpentine Gallery Pavilion 2011 Project Team and Advisors

Client: Serpentine Gallery Julia Peyton-Jones, Director Hans Ulrich Obrist, Co-Director Julie Burnell, Project Leader Advisors Lord Palumbo, Chairman, Serpentine Board of Trustees Zaha Hadid, Architect, Serpentine Board of Trustees Peter Rogers, Director, Stanhope Plc Colin Buttery, Director of Parks Westminster City Council Planning Office Westminster City Council District Surveyors Office (Building Control) Westminster City Council (Licensing Authority) London Fire and Emergency Planning Authority London Region, English Heritage Friends of Hyde Park and Kensington Gardens Architect Peter Zumthor Garden Piet Oudolf Ateliers Peter Zumthor & Partner Anna Page, Project Architect Petra Stiermayr Klemens Grund Project & Construction Management: MACE Stephen Pycroft Gareth Lewis Phil Solomon Benn Chandler Ian Smith Engineering: Arup David Glover Ed Clark Graham Hennessy Chris Neighbour Town Planning Consultants: DP9 Barnaby Collins James Penfold

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Serpentine Gallery Pavilions 2000- 2010

Serpentine Gallery Pavilion 2000 Designed by Zaha Hadid
Briefly brilliant The Guardian

Serpentine Gallery Pavilion 2001 Designed by Daniel Libeskind with Arup

Temporary structures like Eighteen Turns are great additions to our parks and cityscapes they can offer us adventurous, alternative and even radical impressions of what a new architecture might be. The Guardian

Serpentine Gallery Pavilion 2002 Designed by Toyo Ito with Arup

Why cant all new buildings be this good? Toyo Itos magical summer pavilion at the Serpentine Gallery is a lesson in imagination. Evening Standard

Serpentine Gallery Pavilion 2003 Designed by Oscar Niemeyer

Imagine Garbo or Sinatra in their prime, and performing now. With this weeks opening of the 2003 Serpentine Gallery Pavilion, just such a time-warping miracle is taking place. Evening Standard

Serpentine Gallery Pavilion 2005 lvaro Siza and Eduardo Souto de Moura with Cecil Balmond Arup
The temporary pavilion has become unmissable, a rare opportunity to view the work of the finest international architects at first hand. This is how architecture should be exhibited and remembered. Financial Times

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Serpentine Gallery Pavilion 2006 Rem Koolhaas with Cecil Balmond Arup
A helium roof that rises and falls with the weather? Rem Koolhaass Serpentine Pavilion is a joyous extravagance. The Guardian

Serpentine Gallery Pavilion 2007 Designed by Olafur Eliasson and Kjetil Thorsen
A delightful and beautifully thought-out game. The Guardian

Serpentine Gallery Pavilion 2008 Designed by Frank Gehry

Gehrys name completes a straight flush of the most feted international architects of the day. Daily Telegraph

Serpentine Gallery Pavilion 2009 Designed by Kazuyo Sejima and Ryue Nishizawa of SANAA
mesmerizing, and fun once again, the Serpentine succeeds, big time. The Times

Serpentine Gallery Pavilion 2010 Designed by Jean Nouvel

Transient glory: 10 years of the Serpentines star 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 in
any 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 maintain
consistently 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, presenting
pioneering exhibitions of 1,500 artists, architects and designers over 41 years. The Gallery, a Grade II listed 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 12
weeks, 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 Newspaper annual visitor survey, April 2011).

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

The annual Serpentine Gallery Pavilion is unique worldwide and presents landmark buildings by
internationally 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, and
worldwide partners. China Power Station, at Battersea Power Station, presented the work of a new generation of Chinese artists to the UK public for the first time. Indian Highway is currently touring across Norway, Denmark, France, Italy, Russia, Hong Kong, Brazil and India.

Anish Kapoor: Turning the World Upside Down, in Kensington Gardens (28 September 2010 to 13
March 2011) represents the first time in 35 years that the Serpentine has presented public work in Kensington 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 closely with 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-night
summer events, film screenings, performances, free Saturday gallery talks, conferences and symposia and downloadable artists walks.

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Sponsors and Supporters

The Serpentine Gallery Pavilion is, both artistically and financially, a hugely ambitious undertaking. The construction and realisation of the Pavilion relies entirely on the support of a significant 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 luxury saloons continue to set the benchmark for comfort, refinement, prestige, power and automotive noblesse oblige. www.Maybach-uk.com

Advisors

Arup is the creative force behind many of the worlds prominent building, infrastructure and industrial projects. Globally, we offer a broad range of professional services that combine to make 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 Serpentine Pavilion. During the last decade Arup has worked on the pavilions with many of the worlds most 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 South East. Stanhope plc is proud to support the Serpentine Gallery as one of Londons most uplifting and inspiring spaces. Since 2001, Peter Rogers, Director of Stanhope plc, has donated his expertise to all aspects of the Serpentine Gallery Pavilions and he continues to play a major role. www.stanhopeplc.com

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Platinum Sponsor

Mace is an international consultancy and construction company with a projected 850m turnover in 2010, employing 3,000 people and operating across 65 countries. Maces core business is programme and project management, construction delivery, cost consultancy and facilities management, but it is truly multi-disciplinary with services spanning the entire property 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 free from proprietorial influence. Its reputation for unbiased and serious reporting has won it international acclaim. In the UK it has a current headline circulation of 181,934 and, together with sister paper i, it now commands a bigger circulation than The Guardian, reaching more than 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 legal services. With more than 1,200 lawyers across the US, Europe and Asia, the firm serves many of 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, purposeful growth. The firm is particularly noted for its expertise in corporate governance, business restructuring and private equity and now has leading lawyers based in London and around the globe. www.weil.com

Viabizzuno, a company for 17 years, has been acquiring experience, knowledge and research to express the best way of designing lights. Designing is a way to establish a relationship with life. 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 in London, Knight Frank and its New York-based global partner Newmark Knight Frank operate from over 165 offices, in 36 countries, in six continents. For further information about the company, please visit www.knightfrank.com

Bronze Sponsors

For the seventh year, DP9 will provide essential town planning assistance with all aspects of the 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 of Grounds Maintenance, Landscaping and Horticultural services, delivered at a local level and supported by the resources of a national group. www.thelandscapegroup.co.uk

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

T.Clarke is a nationwide building services group delivering the highest levels of value to building projects, through the full life cycle of design, installation, commissioning and maintenance. As a market leader, our vision is to grow nationally, whilst retaining the regional market 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 makes project-based grants to individuals and organizations and produces public programs to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. www.grahamfoundation.org

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

As part of its cultural and educational programme, the Swiss Cultural Fund in Britains mission 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 the public via a wide range of cultural institutions and venues all over the United Kingdom. www.scfb.org.uk

Serpentine Gallery is funded by

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