The Traveling Pavilion suggests a more informal display of artwork. It claims that pieces of work belonging to the exhibition or on loan can be appropriately displayed in a public environment in comparison to the typically formal museum setting. The temporary pavilion exists in public parks in three cities simultaneously on two separate occasions, staying in each location anywhere from 12-18 months. The first set of cities is Tokyo, Stockholm, and Boston, and the second group is Sydney, London, and Cape Town.

This particular iteration of the Traveling Pavilion is concerned with the idea of node and edge. Node refers to the siting of the pavilion in reference to the park centers and edge is the condition of long spans of walk in public parks and is celebrated through the act of circumnavigation. The idea of edge had greatest impact on the formal characteristics of the pavilion, as this edge became extruded to the height of 52 feet  to become the datum for the basic organizational principles.

The pavilion straddles existing paths to allow for passersby to carry on their way, or for occupants to  easily slip off the path into the pavilion. One would then move along the scaffold wall, through the threshold, and into the a series of galleries, before finally ending in the grand space. The grand space is set up in a way that caters to the programmatic demands of the pavilion; a display space, informal gathering area, and assembly space.  The idea of parametrics manifests itself in the ordering  of a cable net structure that encloses this grand space. The gerberettes were designed to create a smooth underbelly on the interior space, while becoming more skeletal and structural on the exterior, with the dynamics becoming evident through the rotation of the pieces and the patterning of the cable.