“I think when an artist exhibits in a gallery that is sometimes a white cube or a former power plant or warehouse, they have a lot of freedom to focus on the manifestation of their work. You can almost see the Serpentine Pavilion as exactly that: it’s a small pavilion in a gigantic park. The work becomes a pure manifestation of that architect.” — Bjarke Ingels – Archinect

“While observing the building, we realized that the internal void was really a great quality to reveal, and so our building is really an inversion of that,” [Kunlé Adeyemi] explained.

“In a way, it’s a rotated from of the temple that highlights the interior space and also creates the fundamental purpose of what we think a summer house is: a place for shade and relaxation." — Archinect

At 93 years of age, Friedman is the oldest architect in the group. He took the opportunity to further explain the thinking that has propelled his life’s work, and the origin story behind the structure.

The Summer House, Friedman explained, “was improvised from small models that I was putting together and it was reproduced. And for me the most important [thing was] that anyone could make this, and I made this experiment and it was built by children.” — Archinect

A teetering stack of fibreglass blocks has landed in Kensington Gardens, rising above the Serpentine Gallery in a stepped wall, before billowing out to form a cave-like space within...

From one side, it looks like a wall that has enjoyed a good lunch. The blocks stretch outwards in a swollen bulge, like a snake devouring its gallery-going prey. From the other, it looks caught in a stiff breeze, a pixelated curtain rippling in the wind. — the Guardian