{"id":2016798,"date":"2026-06-24T14:22:32","date_gmt":"2026-06-24T11:22:32","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=2016798"},"modified":"2026-06-24T14:22:32","modified_gmt":"2026-06-24T11:22:32","slug":"every-serpentine-pavilion-from-2000-to-present","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=2016798","title":{"rendered":"Every Serpentine Pavilion from 2000 to Present"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-tw.jpg?w=1080&amp;cbr=1&amp;q=90&amp;fit=max&#8221;]<\/p>\n<div class=\"col-post-body col\">\n<div class=\"row post-body\">\n<aside class=\"post-body-sidebar\">\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Design\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jun 24, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<\/aside>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Design<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jun 24, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p>In a way, the Serpentine Pavilion is architecture\u2019s own version of a limited release. One commission is taken on per-year by an architect who has never built in the UK \u2013 which means every edition is, by default, someone\u2019s UK debut.<\/p>\n<p>The structure goes up in June on the lawn of Kensington Gardens, runs through October, then gets sold on and disappears. That scarcity formula has made it a must-visit, and it\u2019s almost as if the timed in-situ period of the pavilion is equivalent to the scheduled on-sale window.<\/p>\n<p>Since 2000, 25 editions of the Serpentine Pavilion have been commissioned \u2013 one was unrealised, and one year was lost to the pandemic. The rest of them are standing somewhere on a private estate, a campus, or a museum garden.\n<\/p>\n<p>The most recent comes from Mexico City-based Lanza Atelier, who launched their pavilion earlier this month and had us looking through the archives. Here, you\u2019ll find all of the pavilions past and present.\n<\/p>\n<hr>\n<h2>Zaha Hadid, 2000<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-1.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The programme began as a practical problem: the Serpentine needed a structure to host its 30th anniversary fundraising dinner and asked Hadid to design it. What she delivered was a 600sqm steel-and-aluminium canopy with a triangulated roof that fractured into sharp geometric planes at different angles and heights.\n<\/p>\n<p>It was Hadid\u2019s first built project in the UK, and was constructed in six weeks. The rule that every subsequent pavilion would be the architect\u2019s UK debut started here, almost by accident.\n<\/p>\n<h2>Daniel Libeskind, 2001<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Libeskind\u2019s pavilion, titled Eighteen Turns, was made from a series of sheer metallic planes folded together in an origami-like sequence. As visitors moved through the structure, the angled panels compressed and opened the space around them, creating a different experience from every direction.\n<\/p>\n<h2>Toyo Ito with Cecil Balmond, 2002<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ito and engineer Cecil Balmond generated the pavilion\u2019s form using an algorithm applied to a rotating cube. The resulting structure was a steel-and-glass shell made up of triangular panels, which caught the light differently at every hour of the day.\n<\/p>\n<h2>Oscar Niemeyer, 2003<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Niemeyer, then 95, designed a clean white concrete volume raised 1.5 metres off the ground on a single central column, reached by a long curving ramp and a staircase. The elevated form created a shaded outdoor space beneath it and a simple, open auditorium above \u2014 characteristic of the formal language Niemeyer had been developing since the 1940s.\n<\/p>\n<h2>MVRDV (unbuilt), 2004<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Dutch firm MVRDV were commissioned but their design (a large mountainous structure rising several metres above the lawn) could not be realised within the programme\u2019s budget and six-month build window. It remains the only commission in the pavilion\u2019s history that was never built.\n<\/p>\n<h2>\u00c1lvaro Siza &amp; Eduardo Souto de Moura, 2005<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-6.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The two Portuguese architects based the pavilion on a rectangular grid that was progressively bent and distorted to produce a curving, wave-like timber structure. The interlocking beams crossed at varying angles overhead, creating a latticed ceiling that filtered light and changed character across the plan. The design was intended as a direct response to the neoclassical Serpentine Gallery building next to it.\n<\/p>\n<h2>Rem Koolhaas with Cecil Balmond, 2006<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-7.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion had two parts: a circular enclosure at ground level with polycarbonate walls, and a large inflatable ovoid canopy suspended above it that could be raised to float over the space or lowered to fully enclose it. At night the canopy was lit from within, and Koolhaas used the space to run 24-hour interview programmes with artists, politicians, and architects.\n<\/p>\n<h2>Olafur Eliasson &amp; Kjetil Thorsen, 2007<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-8.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Eliasson and Thorsen built a wide wooden spiral ramp that twisted upward from the ground to a platform around six metres high, giving the structure a spinning, gyroscopic appearance from the outside. Visitors who climbed to the top looked back at the Serpentine Gallery framed below them \u2013 reversing the usual relationship between a building and its pavilion.\n<\/p>\n<h2>Frank Gehry, 2008<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-9.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Gehry\u2019s pavilion was a timber-and-steel structure with large overlapping roof planes set at irregular heights and angles, supported by an exposed steel frame. A curved wooden reflective panel at one end was designed to improve acoustics for the evening concert programme. Despite being a prolific architect for decades before, it was his first completed building in England.\n<\/p>\n<h2>SANAA, 2009<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-10.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>SANAA created serenity with their pavilion, and designed a single large aluminium roof and polished it to a mirror finish so that it reflected the park and sky above visitors as they walked beneath it. The roof was supported by slender steel columns placed in no particular pattern and open on all sides, with no enclosing walls.\n<\/p>\n<h2>Jean Nouvel, 2010<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-11.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Nouvel painted the entire pavilion a single saturated red \u2013 inspired, he said, by London\u2019s red buses and phone boxes \u2013 and built it from a composition of cantilevered roof planes, columns of varying heights, and walls and a roof made from red glass. The colour created a sharp contrast against the green of Kensington Gardens, making the building visible from across the park.\n<\/p>\n<h2>Peter Zumthor with Piet Oudolf, 2011<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-12.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Zumthor\u2019s pavilion, titled \u201cA Garden in a Garden\u201d, was a dark rectangular timber structure that enclosed a bright open-air garden at its centre. Visitors entered through a narrow gap in the outer wall, moved through a dim covered corridor, and emerged into a lush interior courtyard planted by garden designer Piet Oudolf with a dense mix of perennials and grasses that changed across the summer as different plants came into bloom.\n<\/p>\n<h2>Herzog &amp; de Meuron &amp; Ai Weiwei, 2012<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-13.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Rather than building upward, Herzog &amp; de Meuron and Ai Weiwei dug into the site, excavating sections of the lawn to expose the layered ground beneath and reveal the compacted foundations left by every previous pavilion. Twelve steel columns rose from the excavated floor, one for each past edition, and supported a flat circular roof positioned at eye level. The result was a partially subterranean space that made the history of the programme physically present.\n<\/p>\n<h2>Sou Fujimoto, 2013<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-14.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Fujimoto\u2019s pavilion was a cloud-like lattice of thin white steel poles, each one about the diameter of a finger. The structure was see-through from every angle, with no walls or defined interior, tapering and thinning at the edges so that it dissolved into the surrounding landscape rather than ending at a clear boundary.\n<\/p>\n<h2>Smiljan Radi\u0107, 2014<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-15.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>For his pavilion, Radi\u0107 balanced a large cylindrical shell of white translucent fibreglass on a collection of rough, uncut quarry stones. The fibreglass was thin enough to let diffuse light through the walls, giving the interior a soft, even glow. Inside, the space was arranged around a central open-air patio, with covered seating in the ring around it.\n<\/p>\n<h2>SelgasCano, 2015<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-16.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Maybe the most colorful pavilion on the list, SelgasCano built a tunnel-like structure from steel arches wrapped in two layers of ETFE foil \u2013 one translucent white on the inside and one printed with colours on the outside. As sunlight passed through the two layers, the colours mixed and shifted throughout the day, changing the interior from yellow to green to blue depending on the angle of the light.\n<\/p>\n<h2>Bjarke Ingels Group, 2016<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-17.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>BIG created a zip-like structure, stacking 1,800 hollow fibreglass bricks into a single continuous wall that split into two curving sides and arched overhead. Because the bricks were hollow and open at both ends, the wall read as solid when viewed straight on and transparent when viewed at an angle. The 2016 edition also introduced four smaller Summerhouse structures by other architects placed around the grounds, marking the first time the programme had expanded beyond a single commission.\n<\/p>\n<h2>Di\u00e9b\u00e9do Francis K\u00e9r\u00e9, 2017<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-18.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>K\u00e9r\u00e9 based the pavilion on the large communal tree at the centre of his hometown of Gando, Burkina Faso, under which people gather during the heat of the day. The structure had a wide, funnel-shaped indigo steel roof that extended far beyond the walls below to provide shade around the perimeter, with a central opening that collected rainwater and channelled it down through the main column, a technique drawn from traditional building methods in the region.\n<\/p>\n<h2>Frida Escobedo, 2018<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-19.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Escobedo built a courtyard enclosed by walls made from standard UK concrete roof tiles stacked to create a latticed surface of tiles and gaps that let fragmented light and air through. A mirrored ceiling above the covered section reflected the tile pattern back from above, and a shallow triangular pool at one end reflected the sky.\n<\/p>\n<h2>Junya Ishigami, 2019<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-20.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Bringing a slice of northern England to London, Ishigami covered the pavilion roof in around 61 tonnes of raw Cumbrian slate, laid in overlapping layers across a gently sloping surface that appeared to rise directly out of the park\u2019s ground at its lowest edge. Beneath the slate, 106 very slender steel columns held the roof up \u2014 placed in an irregular, forest-like arrangement with no repeating pattern. From a distance, the heavy stone roof appeared to float, and underneath, the space was low, dark, and enclosed like a cave.\n<\/p>\n<h2>Sumayya Vally \/ Counterspace, 2021<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-21.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Vally\u2019s pavilion was made from CNC-cut plywood coated in pink and grey micro-cement, arranged not as a single enclosed building but as a series of fragmented elements spread across the lawn. The shapes and geometries were drawn from research into informal gathering spaces across London such as mosques, community bookshops, sound system venues and market stalls.\n<\/p>\n<h2>Theaster Gates, 2022<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-25.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Artist Theaster Gates created a 16-metre-wide cylinder from horizontally stacked blackened timber joists, with a conical roof opening. The interior was a single circular room with seating around the perimeter and an oculus overhead open to the sky. Gates designed the space specifically for sound, and the cylindrical form and timber lining were tuned for live performance. Across its time in the park, the \u201cBlack Chapel\u201d hosted music, readings, and communal gatherings, with Gates describing it as a space in the tradition of small nonconformist chapels.\n<\/p>\n<h2>Lina Ghotmeh, 2023<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-23.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ghotmeh\u2019s \u201c\u00c0 Table\u201d was a nine-sided pavilion with walls built from timber screens, which had been perforated with leaf-shaped cutouts that filtered park light into shifting patterns on the interior floor. Inside, the space was arranged around a single long communal table. Ghotmeh described the pavilion as being about the act of gathering around a table as the most fundamental form of human architecture.\n<\/p>\n<h2>Minsuk Cho \/ Mass Studies, 2024<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-24.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion was organised as five separate enclosed or semi-enclosed structures arranged around a central open courtyard, which was left deliberately empty. This particular detail was in reference to the madang \u2014 the open-air centre of a traditional Korean house, understood as the social heart of the home rather than unused space. Each of the five surrounding structures was developed with a different artist, composer, or archivist, giving each one a distinct character, making it feel like a small village rather than a single building.\n<\/p>\n<h2>Marina Tabassum, 2025<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-22.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>An existing tree formed the centerpiece for Tabassum\u2019s pavilion, which took on a a long rectangular arched form, clad in translucent polycarbonate panels. Because the structure was never \u201cclosed\u201d, it was always open to the park on all sides, and after its life in London\u2019s greenery, it was set to become a library somewhere else. \u201cArchitecture has always sought out permanence,\u201d Tabassum said at the time. \u201cIn my pavilion, the idea of timelessness changes definition.\u201d\n<\/p>\n<h2>Lanza Atelier, 2026<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-27.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Earlier this month, Lanza Atelier unveiled 2026\u2019s pavilion, which is inspired by an architectural feature known as a \u201cserpentine\u201d \u2013 a type of brick wall commonly found in English county of Suffolk, but is a detail that actually originates in ancient Egypt. Made up of over 30,000 red-hued bricks, the installation snakes around the gardens and is filled with furniture also designed by the studio.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6739119\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Verner Panton Was The King of The Immersive Experience\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6743040\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Stagnancy Is SWAVAY\u2019s Biggest Enemy\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6743677\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Hattie Crowther is Turning Football&#8217;s Greatest Memories Into Fashion\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    FeaturesArchitectureSerpentine PavilionSerpentine\n                                                            <\/p><\/div>\n<\/div>\n<section class=\"post__body__author_info\">\n<div class=\"post__body__author_info__inner\">\n<div class=\"post__body__author_info__body\">\n<p>                    Alice Morby<\/p>\n<p>                                    <span class=\"post__body__author_info__title\">Managing Editor, Hypeform<\/span><\/div>\n<\/div>\n<div class=\"post__body__author_info__bio_wrapper\">\n<p class=\"post__body__author_info__bio\">Alice Morby is a writer and editor based in London. She has spent the past decade writing for some of the world\u2019s leading design and architecture magazines. Alice previously held editor positions at both Dezeen, and Wallpaper*, and has had bylines in major publications including Domus, The Spaces, Design Anthology, and The Guardian. At Hypebeast, she leads on all content relating to design and architecture, and grew the platform&#8217;s first dedicated design vertical Hypeform.<\/p>\n<\/div>\n<\/section>\n<\/footer>\n<\/article>\n<\/div>\n<div id=\"post-footer\" class=\"post-footer row\">\n<div class=\"col-shopping-break\">\n<hr>\n<\/div>\n<div class=\"col-comments\">\n<div id=\"comments\" class=\"post-comments none \">\n<header>\n<div class=\"heading\"><span class=\"comment-count\">0<\/span><span>Comments<\/span><\/div>\n<div class=\"comment-dropdown-tooltip\">\n<ul>\n<li>\n<li><\/ul>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"row post-body\">\n<aside class=\"post-body-sidebar\">\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Design\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jun 24, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<\/aside>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Design<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jun 24, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p>In a way, the Serpentine Pavilion is architecture\u2019s own version of a limited release. One commission is taken on per-year by an architect who has never built in the UK \u2013 which means every edition is, by default, someone\u2019s UK debut.<\/p>\n<p>The structure goes up in June on the lawn of Kensington Gardens, runs through October, then gets sold on and disappears. That scarcity formula has made it a must-visit, and it\u2019s almost as if the timed in-situ period of the pavilion is equivalent to the scheduled on-sale window.<\/p>\n<p>Since 2000, 25 editions of the Serpentine Pavilion have been commissioned \u2013 one was unrealised, and one year was lost to the pandemic. The rest of them are standing somewhere on a private estate, a campus, or a museum garden.\n<\/p>\n<p>The most recent comes from Mexico City-based Lanza Atelier, who launched their pavilion earlier this month and had us looking through the archives. Here, you\u2019ll find all of the pavilions past and present.\n<\/p>\n<hr>\n<h2>Zaha Hadid, 2000<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-1.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The programme began as a practical problem: the Serpentine needed a structure to host its 30th anniversary fundraising dinner and asked Hadid to design it. What she delivered was a 600sqm steel-and-aluminium canopy with a triangulated roof that fractured into sharp geometric planes at different angles and heights.\n<\/p>\n<p>It was Hadid\u2019s first built project in the UK, and was constructed in six weeks. The rule that every subsequent pavilion would be the architect\u2019s UK debut started here, almost by accident.\n<\/p>\n<h2>Daniel Libeskind, 2001<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Libeskind\u2019s pavilion, titled Eighteen Turns, was made from a series of sheer metallic planes folded together in an origami-like sequence. As visitors moved through the structure, the angled panels compressed and opened the space around them, creating a different experience from every direction.\n<\/p>\n<h2>Toyo Ito with Cecil Balmond, 2002<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ito and engineer Cecil Balmond generated the pavilion\u2019s form using an algorithm applied to a rotating cube. The resulting structure was a steel-and-glass shell made up of triangular panels, which caught the light differently at every hour of the day.\n<\/p>\n<h2>Oscar Niemeyer, 2003<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Niemeyer, then 95, designed a clean white concrete volume raised 1.5 metres off the ground on a single central column, reached by a long curving ramp and a staircase. The elevated form created a shaded outdoor space beneath it and a simple, open auditorium above \u2014 characteristic of the formal language Niemeyer had been developing since the 1940s.\n<\/p>\n<h2>MVRDV (unbuilt), 2004<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Dutch firm MVRDV were commissioned but their design (a large mountainous structure rising several metres above the lawn) could not be realised within the programme\u2019s budget and six-month build window. It remains the only commission in the pavilion\u2019s history that was never built.\n<\/p>\n<h2>\u00c1lvaro Siza &amp; Eduardo Souto de Moura, 2005<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-6.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The two Portuguese architects based the pavilion on a rectangular grid that was progressively bent and distorted to produce a curving, wave-like timber structure. The interlocking beams crossed at varying angles overhead, creating a latticed ceiling that filtered light and changed character across the plan. The design was intended as a direct response to the neoclassical Serpentine Gallery building next to it.\n<\/p>\n<h2>Rem Koolhaas with Cecil Balmond, 2006<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-7.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion had two parts: a circular enclosure at ground level with polycarbonate walls, and a large inflatable ovoid canopy suspended above it that could be raised to float over the space or lowered to fully enclose it. At night the canopy was lit from within, and Koolhaas used the space to run 24-hour interview programmes with artists, politicians, and architects.\n<\/p>\n<h2>Olafur Eliasson &amp; Kjetil Thorsen, 2007<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-8.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Eliasson and Thorsen built a wide wooden spiral ramp that twisted upward from the ground to a platform around six metres high, giving the structure a spinning, gyroscopic appearance from the outside. Visitors who climbed to the top looked back at the Serpentine Gallery framed below them \u2013 reversing the usual relationship between a building and its pavilion.\n<\/p>\n<h2>Frank Gehry, 2008<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-9.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Gehry\u2019s pavilion was a timber-and-steel structure with large overlapping roof planes set at irregular heights and angles, supported by an exposed steel frame. A curved wooden reflective panel at one end was designed to improve acoustics for the evening concert programme. Despite being a prolific architect for decades before, it was his first completed building in England.\n<\/p>\n<h2>SANAA, 2009<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-10.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>SANAA created serenity with their pavilion, and designed a single large aluminium roof and polished it to a mirror finish so that it reflected the park and sky above visitors as they walked beneath it. The roof was supported by slender steel columns placed in no particular pattern and open on all sides, with no enclosing walls.\n<\/p>\n<h2>Jean Nouvel, 2010<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-11.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Nouvel painted the entire pavilion a single saturated red \u2013 inspired, he said, by London\u2019s red buses and phone boxes \u2013 and built it from a composition of cantilevered roof planes, columns of varying heights, and walls and a roof made from red glass. The colour created a sharp contrast against the green of Kensington Gardens, making the building visible from across the park.\n<\/p>\n<h2>Peter Zumthor with Piet Oudolf, 2011<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-12.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Zumthor\u2019s pavilion, titled \u201cA Garden in a Garden\u201d, was a dark rectangular timber structure that enclosed a bright open-air garden at its centre. Visitors entered through a narrow gap in the outer wall, moved through a dim covered corridor, and emerged into a lush interior courtyard planted by garden designer Piet Oudolf with a dense mix of perennials and grasses that changed across the summer as different plants came into bloom.\n<\/p>\n<h2>Herzog &amp; de Meuron &amp; Ai Weiwei, 2012<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-13.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Rather than building upward, Herzog &amp; de Meuron and Ai Weiwei dug into the site, excavating sections of the lawn to expose the layered ground beneath and reveal the compacted foundations left by every previous pavilion. Twelve steel columns rose from the excavated floor, one for each past edition, and supported a flat circular roof positioned at eye level. The result was a partially subterranean space that made the history of the programme physically present.\n<\/p>\n<h2>Sou Fujimoto, 2013<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-14.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Fujimoto\u2019s pavilion was a cloud-like lattice of thin white steel poles, each one about the diameter of a finger. The structure was see-through from every angle, with no walls or defined interior, tapering and thinning at the edges so that it dissolved into the surrounding landscape rather than ending at a clear boundary.\n<\/p>\n<h2>Smiljan Radi\u0107, 2014<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-15.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>For his pavilion, Radi\u0107 balanced a large cylindrical shell of white translucent fibreglass on a collection of rough, uncut quarry stones. The fibreglass was thin enough to let diffuse light through the walls, giving the interior a soft, even glow. Inside, the space was arranged around a central open-air patio, with covered seating in the ring around it.\n<\/p>\n<h2>SelgasCano, 2015<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-16.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Maybe the most colorful pavilion on the list, SelgasCano built a tunnel-like structure from steel arches wrapped in two layers of ETFE foil \u2013 one translucent white on the inside and one printed with colours on the outside. As sunlight passed through the two layers, the colours mixed and shifted throughout the day, changing the interior from yellow to green to blue depending on the angle of the light.\n<\/p>\n<h2>Bjarke Ingels Group, 2016<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-17.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>BIG created a zip-like structure, stacking 1,800 hollow fibreglass bricks into a single continuous wall that split into two curving sides and arched overhead. Because the bricks were hollow and open at both ends, the wall read as solid when viewed straight on and transparent when viewed at an angle. The 2016 edition also introduced four smaller Summerhouse structures by other architects placed around the grounds, marking the first time the programme had expanded beyond a single commission.\n<\/p>\n<h2>Di\u00e9b\u00e9do Francis K\u00e9r\u00e9, 2017<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-18.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>K\u00e9r\u00e9 based the pavilion on the large communal tree at the centre of his hometown of Gando, Burkina Faso, under which people gather during the heat of the day. The structure had a wide, funnel-shaped indigo steel roof that extended far beyond the walls below to provide shade around the perimeter, with a central opening that collected rainwater and channelled it down through the main column, a technique drawn from traditional building methods in the region.\n<\/p>\n<h2>Frida Escobedo, 2018<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-19.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Escobedo built a courtyard enclosed by walls made from standard UK concrete roof tiles stacked to create a latticed surface of tiles and gaps that let fragmented light and air through. A mirrored ceiling above the covered section reflected the tile pattern back from above, and a shallow triangular pool at one end reflected the sky.\n<\/p>\n<h2>Junya Ishigami, 2019<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-20.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Bringing a slice of northern England to London, Ishigami covered the pavilion roof in around 61 tonnes of raw Cumbrian slate, laid in overlapping layers across a gently sloping surface that appeared to rise directly out of the park\u2019s ground at its lowest edge. Beneath the slate, 106 very slender steel columns held the roof up \u2014 placed in an irregular, forest-like arrangement with no repeating pattern. From a distance, the heavy stone roof appeared to float, and underneath, the space was low, dark, and enclosed like a cave.\n<\/p>\n<h2>Sumayya Vally \/ Counterspace, 2021<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-21.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Vally\u2019s pavilion was made from CNC-cut plywood coated in pink and grey micro-cement, arranged not as a single enclosed building but as a series of fragmented elements spread across the lawn. The shapes and geometries were drawn from research into informal gathering spaces across London such as mosques, community bookshops, sound system venues and market stalls.\n<\/p>\n<h2>Theaster Gates, 2022<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-25.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Artist Theaster Gates created a 16-metre-wide cylinder from horizontally stacked blackened timber joists, with a conical roof opening. The interior was a single circular room with seating around the perimeter and an oculus overhead open to the sky. Gates designed the space specifically for sound, and the cylindrical form and timber lining were tuned for live performance. Across its time in the park, the \u201cBlack Chapel\u201d hosted music, readings, and communal gatherings, with Gates describing it as a space in the tradition of small nonconformist chapels.\n<\/p>\n<h2>Lina Ghotmeh, 2023<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-23.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ghotmeh\u2019s \u201c\u00c0 Table\u201d was a nine-sided pavilion with walls built from timber screens, which had been perforated with leaf-shaped cutouts that filtered park light into shifting patterns on the interior floor. Inside, the space was arranged around a single long communal table. Ghotmeh described the pavilion as being about the act of gathering around a table as the most fundamental form of human architecture.\n<\/p>\n<h2>Minsuk Cho \/ Mass Studies, 2024<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-24.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion was organised as five separate enclosed or semi-enclosed structures arranged around a central open courtyard, which was left deliberately empty. This particular detail was in reference to the madang \u2014 the open-air centre of a traditional Korean house, understood as the social heart of the home rather than unused space. Each of the five surrounding structures was developed with a different artist, composer, or archivist, giving each one a distinct character, making it feel like a small village rather than a single building.\n<\/p>\n<h2>Marina Tabassum, 2025<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-22.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>An existing tree formed the centerpiece for Tabassum\u2019s pavilion, which took on a a long rectangular arched form, clad in translucent polycarbonate panels. Because the structure was never \u201cclosed\u201d, it was always open to the park on all sides, and after its life in London\u2019s greenery, it was set to become a library somewhere else. \u201cArchitecture has always sought out permanence,\u201d Tabassum said at the time. \u201cIn my pavilion, the idea of timelessness changes definition.\u201d\n<\/p>\n<h2>Lanza Atelier, 2026<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-27.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Earlier this month, Lanza Atelier unveiled 2026\u2019s pavilion, which is inspired by an architectural feature known as a \u201cserpentine\u201d \u2013 a type of brick wall commonly found in English county of Suffolk, but is a detail that actually originates in ancient Egypt. Made up of over 30,000 red-hued bricks, the installation snakes around the gardens and is filled with furniture also designed by the studio.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6739119\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Verner Panton Was The King of The Immersive Experience\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6743040\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Stagnancy Is SWAVAY\u2019s Biggest Enemy\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6743677\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Hattie Crowther is Turning Football&#8217;s Greatest Memories Into Fashion\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    FeaturesArchitectureSerpentine PavilionSerpentine\n                                                            <\/p><\/div>\n<\/div>\n<section class=\"post__body__author_info\">\n<div class=\"post__body__author_info__inner\">\n<div class=\"post__body__author_info__body\">\n<p>                    Alice Morby<\/p>\n<p>                                    <span class=\"post__body__author_info__title\">Managing Editor, Hypeform<\/span><\/div>\n<\/div>\n<div class=\"post__body__author_info__bio_wrapper\">\n<p class=\"post__body__author_info__bio\">Alice Morby is a writer and editor based in London. She has spent the past decade writing for some of the world\u2019s leading design and architecture magazines. Alice previously held editor positions at both Dezeen, and Wallpaper*, and has had bylines in major publications including Domus, The Spaces, Design Anthology, and The Guardian. At Hypebeast, she leads on all content relating to design and architecture, and grew the platform&#8217;s first dedicated design vertical Hypeform.<\/p>\n<\/div>\n<\/section>\n<\/footer>\n<\/article>\n<\/div>\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Design\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jun 24, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Design\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jun 24, 2026<\/time><\/div>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Design<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jun 24, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p>In a way, the Serpentine Pavilion is architecture\u2019s own version of a limited release. One commission is taken on per-year by an architect who has never built in the UK \u2013 which means every edition is, by default, someone\u2019s UK debut.<\/p>\n<p>The structure goes up in June on the lawn of Kensington Gardens, runs through October, then gets sold on and disappears. That scarcity formula has made it a must-visit, and it\u2019s almost as if the timed in-situ period of the pavilion is equivalent to the scheduled on-sale window.<\/p>\n<p>Since 2000, 25 editions of the Serpentine Pavilion have been commissioned \u2013 one was unrealised, and one year was lost to the pandemic. The rest of them are standing somewhere on a private estate, a campus, or a museum garden.\n<\/p>\n<p>The most recent comes from Mexico City-based Lanza Atelier, who launched their pavilion earlier this month and had us looking through the archives. Here, you\u2019ll find all of the pavilions past and present.\n<\/p>\n<hr>\n<h2>Zaha Hadid, 2000<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-1.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The programme began as a practical problem: the Serpentine needed a structure to host its 30th anniversary fundraising dinner and asked Hadid to design it. What she delivered was a 600sqm steel-and-aluminium canopy with a triangulated roof that fractured into sharp geometric planes at different angles and heights.\n<\/p>\n<p>It was Hadid\u2019s first built project in the UK, and was constructed in six weeks. The rule that every subsequent pavilion would be the architect\u2019s UK debut started here, almost by accident.\n<\/p>\n<h2>Daniel Libeskind, 2001<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Libeskind\u2019s pavilion, titled Eighteen Turns, was made from a series of sheer metallic planes folded together in an origami-like sequence. As visitors moved through the structure, the angled panels compressed and opened the space around them, creating a different experience from every direction.\n<\/p>\n<h2>Toyo Ito with Cecil Balmond, 2002<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ito and engineer Cecil Balmond generated the pavilion\u2019s form using an algorithm applied to a rotating cube. The resulting structure was a steel-and-glass shell made up of triangular panels, which caught the light differently at every hour of the day.\n<\/p>\n<h2>Oscar Niemeyer, 2003<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Niemeyer, then 95, designed a clean white concrete volume raised 1.5 metres off the ground on a single central column, reached by a long curving ramp and a staircase. The elevated form created a shaded outdoor space beneath it and a simple, open auditorium above \u2014 characteristic of the formal language Niemeyer had been developing since the 1940s.\n<\/p>\n<h2>MVRDV (unbuilt), 2004<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Dutch firm MVRDV were commissioned but their design (a large mountainous structure rising several metres above the lawn) could not be realised within the programme\u2019s budget and six-month build window. It remains the only commission in the pavilion\u2019s history that was never built.\n<\/p>\n<h2>\u00c1lvaro Siza &amp; Eduardo Souto de Moura, 2005<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-6.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The two Portuguese architects based the pavilion on a rectangular grid that was progressively bent and distorted to produce a curving, wave-like timber structure. The interlocking beams crossed at varying angles overhead, creating a latticed ceiling that filtered light and changed character across the plan. The design was intended as a direct response to the neoclassical Serpentine Gallery building next to it.\n<\/p>\n<h2>Rem Koolhaas with Cecil Balmond, 2006<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-7.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion had two parts: a circular enclosure at ground level with polycarbonate walls, and a large inflatable ovoid canopy suspended above it that could be raised to float over the space or lowered to fully enclose it. At night the canopy was lit from within, and Koolhaas used the space to run 24-hour interview programmes with artists, politicians, and architects.\n<\/p>\n<h2>Olafur Eliasson &amp; Kjetil Thorsen, 2007<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-8.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Eliasson and Thorsen built a wide wooden spiral ramp that twisted upward from the ground to a platform around six metres high, giving the structure a spinning, gyroscopic appearance from the outside. Visitors who climbed to the top looked back at the Serpentine Gallery framed below them \u2013 reversing the usual relationship between a building and its pavilion.\n<\/p>\n<h2>Frank Gehry, 2008<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-9.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Gehry\u2019s pavilion was a timber-and-steel structure with large overlapping roof planes set at irregular heights and angles, supported by an exposed steel frame. A curved wooden reflective panel at one end was designed to improve acoustics for the evening concert programme. Despite being a prolific architect for decades before, it was his first completed building in England.\n<\/p>\n<h2>SANAA, 2009<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-10.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>SANAA created serenity with their pavilion, and designed a single large aluminium roof and polished it to a mirror finish so that it reflected the park and sky above visitors as they walked beneath it. The roof was supported by slender steel columns placed in no particular pattern and open on all sides, with no enclosing walls.\n<\/p>\n<h2>Jean Nouvel, 2010<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-11.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Nouvel painted the entire pavilion a single saturated red \u2013 inspired, he said, by London\u2019s red buses and phone boxes \u2013 and built it from a composition of cantilevered roof planes, columns of varying heights, and walls and a roof made from red glass. The colour created a sharp contrast against the green of Kensington Gardens, making the building visible from across the park.\n<\/p>\n<h2>Peter Zumthor with Piet Oudolf, 2011<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-12.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Zumthor\u2019s pavilion, titled \u201cA Garden in a Garden\u201d, was a dark rectangular timber structure that enclosed a bright open-air garden at its centre. Visitors entered through a narrow gap in the outer wall, moved through a dim covered corridor, and emerged into a lush interior courtyard planted by garden designer Piet Oudolf with a dense mix of perennials and grasses that changed across the summer as different plants came into bloom.\n<\/p>\n<h2>Herzog &amp; de Meuron &amp; Ai Weiwei, 2012<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-13.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Rather than building upward, Herzog &amp; de Meuron and Ai Weiwei dug into the site, excavating sections of the lawn to expose the layered ground beneath and reveal the compacted foundations left by every previous pavilion. Twelve steel columns rose from the excavated floor, one for each past edition, and supported a flat circular roof positioned at eye level. The result was a partially subterranean space that made the history of the programme physically present.\n<\/p>\n<h2>Sou Fujimoto, 2013<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-14.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Fujimoto\u2019s pavilion was a cloud-like lattice of thin white steel poles, each one about the diameter of a finger. The structure was see-through from every angle, with no walls or defined interior, tapering and thinning at the edges so that it dissolved into the surrounding landscape rather than ending at a clear boundary.\n<\/p>\n<h2>Smiljan Radi\u0107, 2014<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-15.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>For his pavilion, Radi\u0107 balanced a large cylindrical shell of white translucent fibreglass on a collection of rough, uncut quarry stones. The fibreglass was thin enough to let diffuse light through the walls, giving the interior a soft, even glow. Inside, the space was arranged around a central open-air patio, with covered seating in the ring around it.\n<\/p>\n<h2>SelgasCano, 2015<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-16.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Maybe the most colorful pavilion on the list, SelgasCano built a tunnel-like structure from steel arches wrapped in two layers of ETFE foil \u2013 one translucent white on the inside and one printed with colours on the outside. As sunlight passed through the two layers, the colours mixed and shifted throughout the day, changing the interior from yellow to green to blue depending on the angle of the light.\n<\/p>\n<h2>Bjarke Ingels Group, 2016<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-17.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>BIG created a zip-like structure, stacking 1,800 hollow fibreglass bricks into a single continuous wall that split into two curving sides and arched overhead. Because the bricks were hollow and open at both ends, the wall read as solid when viewed straight on and transparent when viewed at an angle. The 2016 edition also introduced four smaller Summerhouse structures by other architects placed around the grounds, marking the first time the programme had expanded beyond a single commission.\n<\/p>\n<h2>Di\u00e9b\u00e9do Francis K\u00e9r\u00e9, 2017<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-18.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>K\u00e9r\u00e9 based the pavilion on the large communal tree at the centre of his hometown of Gando, Burkina Faso, under which people gather during the heat of the day. The structure had a wide, funnel-shaped indigo steel roof that extended far beyond the walls below to provide shade around the perimeter, with a central opening that collected rainwater and channelled it down through the main column, a technique drawn from traditional building methods in the region.\n<\/p>\n<h2>Frida Escobedo, 2018<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-19.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Escobedo built a courtyard enclosed by walls made from standard UK concrete roof tiles stacked to create a latticed surface of tiles and gaps that let fragmented light and air through. A mirrored ceiling above the covered section reflected the tile pattern back from above, and a shallow triangular pool at one end reflected the sky.\n<\/p>\n<h2>Junya Ishigami, 2019<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-20.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Bringing a slice of northern England to London, Ishigami covered the pavilion roof in around 61 tonnes of raw Cumbrian slate, laid in overlapping layers across a gently sloping surface that appeared to rise directly out of the park\u2019s ground at its lowest edge. Beneath the slate, 106 very slender steel columns held the roof up \u2014 placed in an irregular, forest-like arrangement with no repeating pattern. From a distance, the heavy stone roof appeared to float, and underneath, the space was low, dark, and enclosed like a cave.\n<\/p>\n<h2>Sumayya Vally \/ Counterspace, 2021<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-21.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Vally\u2019s pavilion was made from CNC-cut plywood coated in pink and grey micro-cement, arranged not as a single enclosed building but as a series of fragmented elements spread across the lawn. The shapes and geometries were drawn from research into informal gathering spaces across London such as mosques, community bookshops, sound system venues and market stalls.\n<\/p>\n<h2>Theaster Gates, 2022<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-25.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Artist Theaster Gates created a 16-metre-wide cylinder from horizontally stacked blackened timber joists, with a conical roof opening. The interior was a single circular room with seating around the perimeter and an oculus overhead open to the sky. Gates designed the space specifically for sound, and the cylindrical form and timber lining were tuned for live performance. Across its time in the park, the \u201cBlack Chapel\u201d hosted music, readings, and communal gatherings, with Gates describing it as a space in the tradition of small nonconformist chapels.\n<\/p>\n<h2>Lina Ghotmeh, 2023<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-23.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ghotmeh\u2019s \u201c\u00c0 Table\u201d was a nine-sided pavilion with walls built from timber screens, which had been perforated with leaf-shaped cutouts that filtered park light into shifting patterns on the interior floor. Inside, the space was arranged around a single long communal table. Ghotmeh described the pavilion as being about the act of gathering around a table as the most fundamental form of human architecture.\n<\/p>\n<h2>Minsuk Cho \/ Mass Studies, 2024<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-24.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion was organised as five separate enclosed or semi-enclosed structures arranged around a central open courtyard, which was left deliberately empty. This particular detail was in reference to the madang \u2014 the open-air centre of a traditional Korean house, understood as the social heart of the home rather than unused space. Each of the five surrounding structures was developed with a different artist, composer, or archivist, giving each one a distinct character, making it feel like a small village rather than a single building.\n<\/p>\n<h2>Marina Tabassum, 2025<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-22.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>An existing tree formed the centerpiece for Tabassum\u2019s pavilion, which took on a a long rectangular arched form, clad in translucent polycarbonate panels. Because the structure was never \u201cclosed\u201d, it was always open to the park on all sides, and after its life in London\u2019s greenery, it was set to become a library somewhere else. \u201cArchitecture has always sought out permanence,\u201d Tabassum said at the time. \u201cIn my pavilion, the idea of timelessness changes definition.\u201d\n<\/p>\n<h2>Lanza Atelier, 2026<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-27.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Earlier this month, Lanza Atelier unveiled 2026\u2019s pavilion, which is inspired by an architectural feature known as a \u201cserpentine\u201d \u2013 a type of brick wall commonly found in English county of Suffolk, but is a detail that actually originates in ancient Egypt. Made up of over 30,000 red-hued bricks, the installation snakes around the gardens and is filled with furniture also designed by the studio.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6739119\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Verner Panton Was The King of The Immersive Experience\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6743040\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Stagnancy Is SWAVAY\u2019s Biggest Enemy\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6743677\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Hattie Crowther is Turning Football&#8217;s Greatest Memories Into Fashion\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    FeaturesArchitectureSerpentine PavilionSerpentine\n                                                            <\/p><\/div>\n<\/div>\n<section class=\"post__body__author_info\">\n<div class=\"post__body__author_info__inner\">\n<div class=\"post__body__author_info__body\">\n<p>                    Alice Morby<\/p>\n<p>                                    <span class=\"post__body__author_info__title\">Managing Editor, Hypeform<\/span><\/div>\n<\/div>\n<div class=\"post__body__author_info__bio_wrapper\">\n<p class=\"post__body__author_info__bio\">Alice Morby is a writer and editor based in London. She has spent the past decade writing for some of the world\u2019s leading design and architecture magazines. Alice previously held editor positions at both Dezeen, and Wallpaper*, and has had bylines in major publications including Domus, The Spaces, Design Anthology, and The Guardian. At Hypebeast, she leads on all content relating to design and architecture, and grew the platform&#8217;s first dedicated design vertical Hypeform.<\/p>\n<\/div>\n<\/section>\n<\/footer>\n<\/article>\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Design<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jun 24, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Design<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jun 24, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Design<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jun 24, 2026<\/time><\/span><\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             843<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<div class=\"post-body-content\">\n<p>In a way, the Serpentine Pavilion is architecture\u2019s own version of a limited release. One commission is taken on per-year by an architect who has never built in the UK \u2013 which means every edition is, by default, someone\u2019s UK debut.<\/p>\n<p>The structure goes up in June on the lawn of Kensington Gardens, runs through October, then gets sold on and disappears. That scarcity formula has made it a must-visit, and it\u2019s almost as if the timed in-situ period of the pavilion is equivalent to the scheduled on-sale window.<\/p>\n<p>Since 2000, 25 editions of the Serpentine Pavilion have been commissioned \u2013 one was unrealised, and one year was lost to the pandemic. The rest of them are standing somewhere on a private estate, a campus, or a museum garden.\n<\/p>\n<p>The most recent comes from Mexico City-based Lanza Atelier, who launched their pavilion earlier this month and had us looking through the archives. Here, you\u2019ll find all of the pavilions past and present.\n<\/p>\n<hr>\n<h2>Zaha Hadid, 2000<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-1.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The programme began as a practical problem: the Serpentine needed a structure to host its 30th anniversary fundraising dinner and asked Hadid to design it. What she delivered was a 600sqm steel-and-aluminium canopy with a triangulated roof that fractured into sharp geometric planes at different angles and heights.\n<\/p>\n<p>It was Hadid\u2019s first built project in the UK, and was constructed in six weeks. The rule that every subsequent pavilion would be the architect\u2019s UK debut started here, almost by accident.\n<\/p>\n<h2>Daniel Libeskind, 2001<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Libeskind\u2019s pavilion, titled Eighteen Turns, was made from a series of sheer metallic planes folded together in an origami-like sequence. As visitors moved through the structure, the angled panels compressed and opened the space around them, creating a different experience from every direction.\n<\/p>\n<h2>Toyo Ito with Cecil Balmond, 2002<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ito and engineer Cecil Balmond generated the pavilion\u2019s form using an algorithm applied to a rotating cube. The resulting structure was a steel-and-glass shell made up of triangular panels, which caught the light differently at every hour of the day.\n<\/p>\n<h2>Oscar Niemeyer, 2003<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Niemeyer, then 95, designed a clean white concrete volume raised 1.5 metres off the ground on a single central column, reached by a long curving ramp and a staircase. The elevated form created a shaded outdoor space beneath it and a simple, open auditorium above \u2014 characteristic of the formal language Niemeyer had been developing since the 1940s.\n<\/p>\n<h2>MVRDV (unbuilt), 2004<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Dutch firm MVRDV were commissioned but their design (a large mountainous structure rising several metres above the lawn) could not be realised within the programme\u2019s budget and six-month build window. It remains the only commission in the pavilion\u2019s history that was never built.\n<\/p>\n<h2>\u00c1lvaro Siza &amp; Eduardo Souto de Moura, 2005<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-6.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>The two Portuguese architects based the pavilion on a rectangular grid that was progressively bent and distorted to produce a curving, wave-like timber structure. The interlocking beams crossed at varying angles overhead, creating a latticed ceiling that filtered light and changed character across the plan. The design was intended as a direct response to the neoclassical Serpentine Gallery building next to it.\n<\/p>\n<h2>Rem Koolhaas with Cecil Balmond, 2006<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-7.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion had two parts: a circular enclosure at ground level with polycarbonate walls, and a large inflatable ovoid canopy suspended above it that could be raised to float over the space or lowered to fully enclose it. At night the canopy was lit from within, and Koolhaas used the space to run 24-hour interview programmes with artists, politicians, and architects.\n<\/p>\n<h2>Olafur Eliasson &amp; Kjetil Thorsen, 2007<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-8.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Eliasson and Thorsen built a wide wooden spiral ramp that twisted upward from the ground to a platform around six metres high, giving the structure a spinning, gyroscopic appearance from the outside. Visitors who climbed to the top looked back at the Serpentine Gallery framed below them \u2013 reversing the usual relationship between a building and its pavilion.\n<\/p>\n<h2>Frank Gehry, 2008<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-9.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Gehry\u2019s pavilion was a timber-and-steel structure with large overlapping roof planes set at irregular heights and angles, supported by an exposed steel frame. A curved wooden reflective panel at one end was designed to improve acoustics for the evening concert programme. Despite being a prolific architect for decades before, it was his first completed building in England.\n<\/p>\n<h2>SANAA, 2009<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-10.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>SANAA created serenity with their pavilion, and designed a single large aluminium roof and polished it to a mirror finish so that it reflected the park and sky above visitors as they walked beneath it. The roof was supported by slender steel columns placed in no particular pattern and open on all sides, with no enclosing walls.\n<\/p>\n<h2>Jean Nouvel, 2010<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-11.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Nouvel painted the entire pavilion a single saturated red \u2013 inspired, he said, by London\u2019s red buses and phone boxes \u2013 and built it from a composition of cantilevered roof planes, columns of varying heights, and walls and a roof made from red glass. The colour created a sharp contrast against the green of Kensington Gardens, making the building visible from across the park.\n<\/p>\n<h2>Peter Zumthor with Piet Oudolf, 2011<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-12.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Zumthor\u2019s pavilion, titled \u201cA Garden in a Garden\u201d, was a dark rectangular timber structure that enclosed a bright open-air garden at its centre. Visitors entered through a narrow gap in the outer wall, moved through a dim covered corridor, and emerged into a lush interior courtyard planted by garden designer Piet Oudolf with a dense mix of perennials and grasses that changed across the summer as different plants came into bloom.\n<\/p>\n<h2>Herzog &amp; de Meuron &amp; Ai Weiwei, 2012<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-13.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Rather than building upward, Herzog &amp; de Meuron and Ai Weiwei dug into the site, excavating sections of the lawn to expose the layered ground beneath and reveal the compacted foundations left by every previous pavilion. Twelve steel columns rose from the excavated floor, one for each past edition, and supported a flat circular roof positioned at eye level. The result was a partially subterranean space that made the history of the programme physically present.\n<\/p>\n<h2>Sou Fujimoto, 2013<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-14.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Fujimoto\u2019s pavilion was a cloud-like lattice of thin white steel poles, each one about the diameter of a finger. The structure was see-through from every angle, with no walls or defined interior, tapering and thinning at the edges so that it dissolved into the surrounding landscape rather than ending at a clear boundary.\n<\/p>\n<h2>Smiljan Radi\u0107, 2014<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-15.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>For his pavilion, Radi\u0107 balanced a large cylindrical shell of white translucent fibreglass on a collection of rough, uncut quarry stones. The fibreglass was thin enough to let diffuse light through the walls, giving the interior a soft, even glow. Inside, the space was arranged around a central open-air patio, with covered seating in the ring around it.\n<\/p>\n<h2>SelgasCano, 2015<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-16.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Maybe the most colorful pavilion on the list, SelgasCano built a tunnel-like structure from steel arches wrapped in two layers of ETFE foil \u2013 one translucent white on the inside and one printed with colours on the outside. As sunlight passed through the two layers, the colours mixed and shifted throughout the day, changing the interior from yellow to green to blue depending on the angle of the light.\n<\/p>\n<h2>Bjarke Ingels Group, 2016<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-17.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>BIG created a zip-like structure, stacking 1,800 hollow fibreglass bricks into a single continuous wall that split into two curving sides and arched overhead. Because the bricks were hollow and open at both ends, the wall read as solid when viewed straight on and transparent when viewed at an angle. The 2016 edition also introduced four smaller Summerhouse structures by other architects placed around the grounds, marking the first time the programme had expanded beyond a single commission.\n<\/p>\n<h2>Di\u00e9b\u00e9do Francis K\u00e9r\u00e9, 2017<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-18.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>K\u00e9r\u00e9 based the pavilion on the large communal tree at the centre of his hometown of Gando, Burkina Faso, under which people gather during the heat of the day. The structure had a wide, funnel-shaped indigo steel roof that extended far beyond the walls below to provide shade around the perimeter, with a central opening that collected rainwater and channelled it down through the main column, a technique drawn from traditional building methods in the region.\n<\/p>\n<h2>Frida Escobedo, 2018<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-19.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Escobedo built a courtyard enclosed by walls made from standard UK concrete roof tiles stacked to create a latticed surface of tiles and gaps that let fragmented light and air through. A mirrored ceiling above the covered section reflected the tile pattern back from above, and a shallow triangular pool at one end reflected the sky.\n<\/p>\n<h2>Junya Ishigami, 2019<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-20.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Bringing a slice of northern England to London, Ishigami covered the pavilion roof in around 61 tonnes of raw Cumbrian slate, laid in overlapping layers across a gently sloping surface that appeared to rise directly out of the park\u2019s ground at its lowest edge. Beneath the slate, 106 very slender steel columns held the roof up \u2014 placed in an irregular, forest-like arrangement with no repeating pattern. From a distance, the heavy stone roof appeared to float, and underneath, the space was low, dark, and enclosed like a cave.\n<\/p>\n<h2>Sumayya Vally \/ Counterspace, 2021<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-21.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Vally\u2019s pavilion was made from CNC-cut plywood coated in pink and grey micro-cement, arranged not as a single enclosed building but as a series of fragmented elements spread across the lawn. The shapes and geometries were drawn from research into informal gathering spaces across London such as mosques, community bookshops, sound system venues and market stalls.\n<\/p>\n<h2>Theaster Gates, 2022<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-25.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Artist Theaster Gates created a 16-metre-wide cylinder from horizontally stacked blackened timber joists, with a conical roof opening. The interior was a single circular room with seating around the perimeter and an oculus overhead open to the sky. Gates designed the space specifically for sound, and the cylindrical form and timber lining were tuned for live performance. Across its time in the park, the \u201cBlack Chapel\u201d hosted music, readings, and communal gatherings, with Gates describing it as a space in the tradition of small nonconformist chapels.\n<\/p>\n<h2>Lina Ghotmeh, 2023<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-23.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Ghotmeh\u2019s \u201c\u00c0 Table\u201d was a nine-sided pavilion with walls built from timber screens, which had been perforated with leaf-shaped cutouts that filtered park light into shifting patterns on the interior floor. Inside, the space was arranged around a single long communal table. Ghotmeh described the pavilion as being about the act of gathering around a table as the most fundamental form of human architecture.\n<\/p>\n<h2>Minsuk Cho \/ Mass Studies, 2024<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-24.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>This pavilion was organised as five separate enclosed or semi-enclosed structures arranged around a central open courtyard, which was left deliberately empty. This particular detail was in reference to the madang \u2014 the open-air centre of a traditional Korean house, understood as the social heart of the home rather than unused space. Each of the five surrounding structures was developed with a different artist, composer, or archivist, giving each one a distinct character, making it feel like a small village rather than a single building.\n<\/p>\n<h2>Marina Tabassum, 2025<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-22.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>An existing tree formed the centerpiece for Tabassum\u2019s pavilion, which took on a a long rectangular arched form, clad in translucent polycarbonate panels. Because the structure was never \u201cclosed\u201d, it was always open to the park on all sides, and after its life in London\u2019s greenery, it was set to become a library somewhere else. \u201cArchitecture has always sought out permanence,\u201d Tabassum said at the time. \u201cIn my pavilion, the idea of timelessness changes definition.\u201d\n<\/p>\n<h2>Lanza Atelier, 2026<\/h2>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-27.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Courtesy Of Serpentine Gallery<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>Earlier this month, Lanza Atelier unveiled 2026\u2019s pavilion, which is inspired by an architectural feature known as a \u201cserpentine\u201d \u2013 a type of brick wall commonly found in English county of Suffolk, but is a detail that actually originates in ancient Egypt. Made up of over 30,000 red-hued bricks, the installation snakes around the gardens and is filled with furniture also designed by the studio.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Alice Morby<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    FeaturesArchitectureSerpentine PavilionSerpentine\n                                                            <\/p><\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/hypebeast.com\/2026\/6\/serpentine-pavilion-previous-editions-archive-list&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F24%2Fserpentine-pavilion-previous-editions-archive-list-tw.jpg?w=1080&amp;cbr=1&amp;q=90&amp;fit=max&#8221;] Design Jun 24, 2026 843 Views 0\u00a0Comments Comments Save Text By Alice Morby Share this article Design Jun 24, 2026 843 Views 0\u00a0Comments Comments Save In a way, the Serpentine Pavilion is architecture\u2019s own version of a limited release. One commission is taken on per-year by an architect who has never built [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,39],"class_list":["post-2016798","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-hypebeast-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2016798","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2016798"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2016798\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2016798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2016798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2016798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}