The 23rd Serpentine Pavilion, Archipelagic Void, designed by Seoul-based Korean architect Minsuk Cho and his firm Mass Studies opened to the public on June 7, 2024, with Goldman Sachs supporting the annual project for the 10th consecutive year. Comprised of five ‘islands’, each structure of Archipelagic Void is unique in size, form, name and purpose, providing a multi-faceted platform for Serpentine’s live programme from June to October. Launching a season of specially curated activations, the 23rd Serpentine Pavilion plays host to a new commissioned soundscape, a library and a series of performances and talks.

Tracing the history of past Serpentine Pavilions, Minsuk Cho observed that they often emerge as a singular structure situated at the center of the Serpentine South lawn. To explore new possibilities and previously untold spatial narratives, Cho approached the center as an open space. His design envisions a unique void surrounded by a constellation of smaller, adaptable structures strategically positioned at the periphery of the lawn. Built predominantly in timber, these structures are supported by identical footings that adapt to the slightly sloping topography of the site.

“We are honored and grateful to unveil Archipelagic Void. To realize the Pavilion, we began by asking what can be uncovered and added to the Serpentine site, which has already featured over twenty historical iterations at the center of the lawn, from a roster of great architects and artists. To approach this chapter differently, instead of viewing it as a carte blanche, we embraced the challenge of considering the many existing peripheral elements while exploring the center as a void. It also begins to address the history of the Serpentine Pavilion. By inverting the center as a void, we shift our architectural focus away from the built center of the past, facilitating new possibilities and narratives,” said Minsuk Cho, Architect, Mass Studies.

The curving edges of the individual roofs are conjoined by a steel ring which forms an oculus in the center that draws natural light. Radiating from the circular void, these islands act as nodes in the lawn, reaching out to connect to the Serpentine South gallery and the pedestrian networks in the Park. This layout also references traditional Korean houses that feature a madang, an open courtyard located at the center. This space connects to various residential quarters, accommodating individual everyday activities and larger collective rituals throughout the changing seasons.

Around the void, each structure is conceived as a ‘content machine’, serving a different purpose and individually named. The Gallery acts as the welcoming main entry, extending curatorial activities outside, while the Auditorium serves as a generous gathering area. To the north is an intimate Library, offering a moment of pause. The Tea House honors the Serpentine South’s early role as a tea pavilion. The Play Tower, the most open and exposed part, is equipped with a net-scape to play, explore or rest. Each component consists of two walls sitting on plinths that are used as covered or uncovered park benches and tables. Assembled, the parts become a montage of five distinct covered spaces and five open spaces of surrounding park in between, highlighted by varying naturallight conditions.

“Mass Studies’ Serpentine Pavilion led by Minsuk Cho is another exciting step forward for this singular commission that has pushed the boundaries of creative experimentation with architecture. We’re thrilled that Archipelagic Void will expand on Serpentine’s evolving history as a site for bringing people together in the park, and our continued mission of building bridges between art and audiences. We are deeply grateful to our loyal partners for sustaining the Pavilion each year and look forward to a summer full of experiences made possible by Cho’s brilliant complex for encounters and collaboration,” added Bettina Korek, Chief Executive, and Hans Ulrich Obrist, Artistic Director, Serpentine.

As the main entry to the Pavilion, the Gallery hosts a six-channel sound installation, The Willow is (버들은) and Moonlight (월정명). Taking inspiration from the surrounding environment of the Pavilion, South Korean musician and composer Jang Young-Gyu uses sounds recorded from nature and human activities in Kensington Gardens. Incorporating these recordings with traditional Korean vocal music and instruments including the gayageum (가야금), geomungo (거문고), piri (피리), janggo (장고), and kkwaenggwari (꽹가리), this newly commissioned soundscape traces the changing of seasons and responds to the constantly transforming landscape and ecology of the park. The work The Willow is (버들은) which illustrates the summer season was presented from June and transitions to Moonlight (월정명) in September to represent the approaching autumn.

To the west, is the Auditorium, the largest structure of the five ‘islands’. With benches built into its inner walls, this space provides an area for public gathering, performances and talks. Providing a space for outdoor play, the Pavilion also features the Play Tower, a pyramid structure fitted with a bright orange net-scape for visitors to climb and interact. In a nod to the history of the Serpentine, Cho incorporates the Tea House to the east of the Pavilion. Designed by James Grey West, the Serpentine South building originally functioned as a teahouse before reopening as an art gallery in 1970.

Justine Simons OBE, Deputy Mayor for Culture and the Creative Industries, said: “This year’s installation from Minsuk Cho at Serpentine’s Summer Pavilion is another fantastic example of how art and culture can bring people together, sparking conversations and imaginations. The Mayer and I are proud to see the continued success of the Serpentine’s Summer Pavilion, showcasing the best of international talent here in London, attracting visitors from far and wide, and building a better London for all.”

An artwork that functions as a ‘living’ reference library, The Library of Unread Books was initiated by artist Heman Chong and archivist Renée Staal to collectively address notions of access, excess and the politics of distribution. Each book in the collection has been donated by its previous owner who did not read it when it was in their 29 possession. Visitors are welcome to contribute and submit an unread book in their possession to the growing collection. By making these titles accessible, the library forms a pool of common knowledge for the community. Each title is arranged randomly and in stacks to create a setting that encourages visitors to feel at home.

The Pavilion is simultaneously both contextual and abstract, site-specific and siteless. The structures mediate between the gently sloping topography of the Serpentine lawn and its surrounding elements. The Archipelagic Void is both vernacular and modern. As in many places, traditional Korean building are built to be assembled and disassembled like a pavilion, supported by stone plinths. The primary material for the Pavilion is locally sourced limestone, Douglas fir timber and tensile membranes. The structure explores modern joinery techniques, allowing for effortless assembly and disassembly.

Jon Leach, Director at AECOM said: “It is a privilege to collaborate with Serpentine for AECOM’s twelfth year as Technical Advisor and our third year as Project Manager. Every year the project pushes the boundaries of what is possible in architecture, design, driving spontaneity, innovation and creativity to realize the architects’ unique visions. This year’s design by Minsuk Cho and Mass Studies
showcases the use of natural timber with a combination of modern and traditional joinery techniques. Its five independent spaces will create a variety of experiences for the public to enjoy.”

The fully demountable Pavilion structure is predominantly constructed using sustainably sourced Douglas fir timber. Steel was adopted for high-stress connections and to frame the prestressed PVC fabric roof coverings. The Pavilion floor consists of sandstone paving, recycled rubber matting and bound gravel. Precast concrete with high cement replacement was used for the pad foundations and plinths, which are designed to be removeable and reuseable, while recycled rubber matting has been deployed in the play area to further enhance the project’s circularity. Timber boards, PVC and polycarbonate create both the roofs and walls of the Pavilion.

AECOM has been supporting the project for over a decade and, each year, it presents new opportunities for their team of multi-disciplinary specialists to push technical boundaries to help realize the architect’s vision. Over that time, the team has seen the demands on buildings and places change significantly – not least in the move towards a more sustainable future. With that in mind, timber has been the main building material for the project for a number of years, but this is the first time AECOM have embraced non-engineered timber at this scale. It has also significantly helped reduce mbodied carbon associated with the build and means that the temporary structure can be reused in new location and maintain its legacy long into the future.

According to AECOM, the use of natural, un-engineered timber in this irregular form has incorporated numerous connection types from bolts to hidden dowels and screws, and scarf joints for the largest, low-stress connections where tight CNC-tolerances allowed them to celebrate this more traditional form of jointing. The timber cladding to the structures also minimizes the need for supplemental bracing. AECOM also worked diligently to minimize the use of steelwork, which provides reinforcement to the heavily loaded connections and light-weight ties involved in the pre-stressed trussed roof of the auditorium. The pre-cast reinforced concrete foundations 30 adopt a high proportion of low carbon cement replacement and incorporate reclaimed steel pedestals cast within the plinth to resist the overturning forces.

Tim Leigh, Managing Director of Stage One Creative Services, said: “This is the fifteenth Serpentine Pavilion we have constructed for Serpentine. The Pavilions are an enchanting commission, and it is remarkable how each scheme brings its own character and challenges. This year’s design is very heavily influenced by architectural and cultural references from South Korea, and this has provided us with an opportunity to develop a craft that combines traditional joinery with advanced machining of timber. Each year is an architectural experiment. And Mass Studies have imagined what I’m sure will become an iconic design.”