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Temporary Architecture: the Serpentine Gallery Pavilions

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Temporary Architecture: the Serpentine Gallery Pavilions TEMPORARY ARCHITECTURE: THE SERPENTINE GALLERY PAVILIONS A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GONCA ZEYNEP TUNÇBİLEK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2013 Approval of the thesis: TEMPORARY ARCHITECTURE: THE SERPENTINE GALLERY PAVILIONS submitted by GONCA ZEYNEP TUNÇBİLEK in partial fulfillment of the requirements for the degree of Master of Architecture in Department of Architecture, Middle East Technical University by, Prof. Dr. Canan Özgen _____________________ Dean, Graduate School of Natural and Applied Sciences Assoc. Prof. Dr. Güven Arif Sargın _____________________ Head of Department, Architecture Assoc. Prof. Dr. Ayşen Savaş _____________________ Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. Ali Cengizkan _____________________ Architecture Dept., METU Prof. Dr. Ayşen Savaş _____________________ Architecture Dept., METU Asst. Prof. Dr. Namık Günay Erkal _____________________ Architecture Dept., METU Assoc. Prof. Dr. Lale Özgenel _____________________ Architecture Dept., METU Dr. Funda Baş Bütüner _____________________ Architecture Dept., METU Date: 16.09.2013 I hereby declare that all information in this thesis document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Gonca Zeynep Tunçbilek Signature: iv ABSTRACT TEMPORARY ARCHITECTURE: THE SERPENTINE GALLERY PAVILIONS Tunçbilek, Gonca Zeynep M.Arch., Department of Architecture Supervisor: Prof. Dr. Ayşen Savaş September 2013, 126 pages This thesis is a critical inquiry into conceptualizations of the term ‘temporality’ in architectural discourse. It is geared towards the expanding definition of the ‘temporariness’ as a pragmatic and intellectual source for architectural production. The Serpentine Gallery Pavilions between 2000 and 2012, given their acute embodiment of the concept of temporality, will be the subject and the object of this thesis. The Serpentine Gallery has provided the setting for annual pavilion design project since 2000, which will be investigated thoroughly with emphasis on its role in supporting transitory architecture. Along with the characteristics of the pavilions and their structural properties, the agents of the investigation will be architects themselves. The thesis introduces the idea of ‘experimentation in architecture’ as an inevitable component in the production and design of the pavilions, given the powerful relationship it forms between the domains of architectural research, discourse and practice. While offering new rules and classifications for architectural problem solving, experimentation produces a direction towards thinking to allow new concepts, new methods and new materials in architecture. It draws focus to the acts of searching, experiencing and opening of new possibilities related to space design. Experimental architecture is integrated with real-world conditions, and also can be evaluated as an agent to extend the borders of architecture as a discipline. Keywords: Temporality, Permanence, Experimentation, Serpentine Gallery, Pavilion Design, Exposition, Display. v ÖZ GEÇİCİ MİMARİ: SERPENTINE GALERİ PAVYONLARI Tunçbilek, Gonca Zeynep Yüksek Lisans, Mimarlık Bölümü Tez Yöneticisi: Prof. Dr. Ayşen Savaş Eylül 2013, 126 sayfa Bu tez, ‘geçicilik’ teriminin mimarlık pratiği içerisinde kavramsal hale gelmesini eleştirel bir bakış açısıyla araştırmaktadır. ‘Geçicilik’ tanımı genişletilerek, mimarlık üretimi için pragmatik ve entelektüel kaynaklar yaratacak bir kavram olarak ele alınmaktadır. 2000-2012 yılları arasında tasarlanan Serpentine Galeri’nin Pavyonları geçicilik kavramının somutlaştırılması amacıyla ele alınarak bu tezin hem nesnesini hem de öznesini oluşturmaktadır. Serpentine Galeri tarafından 2000 yılından başlayarak her yıl düzenlenen pavyon tasarımı projeleri, geçici mimariye olan katkıları vurgulanacak şekilde incelenecektir. Pavyonların nitelikleri ve yapısal özellikleriyle birlikte mimarların tasarım prensipleri bu incelemenin temsilcilerini oluşturacaktır. Bu tez, ‘mimaride deneysellik’ kavramını; mimari araştırma, söylem ve uygulama alanları arasındaki güçlü ilişkiyi de vurgulayarak pavyon tasarımının ve üretiminin kaçınılmaz bir bileşeni olarak ortaya koymaktadır. Deneysellik mimari problemi çözmede yeni ilkeler ve sınıflandırmalar önererek, mimarlık alanında yeni kavramların, yeni metotların ve yeni malzemelerin ortaya çıkmasına olanak verecek bir anlayışa yönlendirmektedir. Mekan tasarımıyla bağıntılı olarak araştırma, deneyimleme ve yeni olanaklar sunmada etkili rol oynamaktadır. Deneysel mimarlık bir yandan gerçek dünyanın şartları ile bütünleşmiştir diğer bir yandan da geleneksel mimarinin sınırlarını tekrar sorgulamaya olanak tanımaktadır. Anahtar Kelimeler: Geçicilik, Kalıcılık, Deneysellik, Serpentine Galeri, Pavyon Tasarımı, Fuar Yapıları, Sergileme. vi To Yasemin, Aydın and Can Tunçbilek vii ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my supervisor Prof. Dr. Ayşen Savaş, who has not only supported this thesis with her guidance and criticism, but also encouraged me with her valuable comments and suggestions. Without her, this thesis could not have been written. Besides, I would like to thank to the members of the examining committee, Prof. Dr. Ali Cengizkan, Asst. Prof. Dr. Namık Erkal, Assoc. Prof. Dr. Lale Özgenel and Dr. Funda Baş Bütüner for their valuable comments, discussions and criticism. I would also like to thank to Assoc. Prof. Dr. Güven Arif Sargın, for his constructive criticism, support and understanding during my academic experiences. My research depended on the support and research of many individuals and institutions. In particular I owe much to Laoise Meek, Varind Ramful and Matt Hatt of the Serpentine Gallery, Angela Vasconcellos of Oscar Niemeyer Foundation, Suzanne Coleman of the Herzog & de Meuron office, Isabel Pagel of the MVRDV PR office, Olivia Schmid of the Atelier Peter Zumthor & Partner, and finally, Ayesha Kapila of the OMA Office. I am indebted to my friends Ezgi Yavuz, Ceren Katipoğlu, Meltem Al, Burcu Kor and Hatice Çoban for their invaluable academic support and patient friendship throughout the process; I feel the luck of having such inspiring colleagues as friends. I would like to express my gratitude to my dear friends Setenay Arslan and Nil Ayyıldız. Finally, this thesis would have never been accomplished without the support of my family. Special thanks to my parents Yasemin and Aydın Tunçbilek, for giving birth to me at the first place and their endless support. I am indebted to them forever. Lastly, I would like to thank my brother Can Tunçbilek, who has been my best friend all my life, I love him dearly and thank him for all his advice and support. It has always been easy for me to move forward, feeling the silent support of my family behind me. This work could not have been written without their intellectual and extraordinary contributions. viii TABLE OF CONTENTS ABSTRACT ............................................................................................................................. v ÖZ ........................................................................................................................................... vi ACKNOWLEDGEMENTS .................................................................................................. viii TABLE OF CONTENTS ........................................................................................................ ix LIST OF FIGURES ................................................................................................................ xi CHAPTERS 1. INTRODUCTION ............................................................................................................... 1 1.1 Serpentine Gallery and Pavilions ......................................................................... 5 2. EXPERIMENTAL ARCHITECTURE .............................................................................. 11 2.1 Materials-Methods ....................................................................................................... 11 2.2 Representation of the Future Architecture - New Vision ............................................. 23 2.3 Reinvention of the ‘Pavilion’ by Each Architect ......................................................... 29 3. THE POSSIBILITIES OF TEMPORARY/PERMANENT ARCHITECTURE ............... 35 3.1 Are They Still Alive? ................................................................................................... 37 3.1.1 The 2000 Serpentine Gallery Pavilion .................................................................. 37 3.1.2 The 2001 Serpentine Gallery Pavilion, Cork, Ireland ........................................... 40 3.1.3 The 2002 Serpentine Gallery Pavilion .................................................................. 41 3.1.4 The 2008 Serpentine Gallery Pavilion, Château La Coste .................................... 43 3.2 Examination of Temporality vs. Permanence with Each Pavilions ............................. 44 3.2.1 The 2003 Serpentine Pavilion ............................................................................... 45 3.2.2 The 2005 Serpentine Pavilion ..............................................................................
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