Escobedo’s approach is, she says, not about the look of the architectural object, but “how you feel inside the space, how you go about it in the moment”. It is designed for the “very specific space and time” of the Serpentine’s lawn in summer, but is also for the future in which, like previous pavilions, it will be sold to private collectors. Since “we don’t know where it’s going”, the design “can absorb locality no matter where it is”. — The Guardian
In this piece for The Guardian, Rowan Moore speaks with 39-year-old Mexican architect Frida Escobedo about her Serpentine Pavilion, an “intimate public courtyard” that will open in London this month. Escobedo talks about her start in architecture, Mexican modernism, and the “always incomplete”, temporal nature of architecture — a core concept of her work. “I love materials that absorb the passage of time”, she tells Moore.
“Throughout Escobedo’s work, there’s an interest in whatever is already there, which she attributes both to the influence of the French philosopher Henri Bergson, and to the culture of her country. To Bergson she owes the idea that every action adds to previous actions, like pearls on a necklace, changing the whole but not replacing it,” Moore writes.
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