Serpentine Sackler Gallery Magazine Restaurant
Zaha Hadid’s striking design for this gallery restaurant combines futuristic and organic elements, including stiletto-like columns and glass walls that look out onto Kensington Gardens. Creating a fully enclosed structure that achieves lightness through its materials and dynamic geometries. The Sackler is Hadid’s first permanent structure to be created in central London and features 900m (3,000ft) of exhibition space, a restaurant and room for socialising.
Located in Kensington Gardens – in an 1805 gunpowder store formerly known as The Magazine – the gallery honours Dr Mortimer and Dame Theresa Sackler, whose foundation made the project possible through the largest single gift received by the Serpentine in its 43 years of existence.
The Magazine, a grade II* listed building in Kensington Gardens built around 1805 was originally designed as a Gunpowder Store, hence the name, Magazine. The architectural vision for the building was for a lightweight contemporary extension, to be sensitively positioned adjacent to the historic structure. The intention was that the extension should have the feel of a pavilion rather than a more substantial form.
- Challenges: The new Magazine extension needed to contain a generous, open social space that should enliven the Serpentine Sackler Gallery as a new cultural and culinary destination. The new extension had to be designed to complement the calm and solid classical building with a light, transparent, dynamic and distinctly contemporary space of the 21st century.
- Results: “The new addition of the 19th century gunpowder store in Hyde Park is one of the most inspiringly beautiful dining rooms in London, in Europe, in the world. It’s like eating inside some great mythical animal’s exoskeleton – just breath-taking and definitely the place to bring someone who has no conversation. You can just sit and admire the wall.” – AA Gill, Sunday Times.
The Magazine restaurant makes the Serpentine Sackler Gallery a new cultural and culinary destination. It’s a light, transparent and distinctly contemporary space that complements the solidity of the existing building and synthesises old and new. The extension feels ephemeral, like a temporary pavilion, although it is a fully functional permanent building. The interior is bright and social: light pours in from all sides and through the five steel columns that open up as light ‘scoops’. The curvature of the roof animates the venue with its sculptural fluidity.
- The Serpentine Sackler Gallery is the result of a £14.5m project which has transformed a 208-year-old Grade II* listed building into an art gallery, restaurant and meeting space. The Magazine was constructed in 1805 as a munitions store for gunpowder during the Napoleonic wars and has since been used for military parades and as home to the Crystal Palace of the Great Exhibition of 1851. With the opening of the Serpentine Sackler Gallery, The Magazine is now open to the public for the first time.
- The new Gallery is named after Dr Mortimer and Theresa Sackler, whose Foundation has made the project possible through the largest single gift received by the Serpentine Gallery in its 41-year history. This funding has enabled the unique listed building to be brought into public use for the first time in its 206-year history, providing a new cultural destination and landmark for London.
Zaha Hadid Architects:
The Serpentine Sackler Gallery consists of two distinct parts, namely the conversion of a classical 19th century brick structure – The Magazine – and a 21st century tensile structure. The Serpentine Sackler Gallery is thus – after MAXXI in Rome – the second art space where Zaha Hadid Architects have created a synthesis of old and new. The Magazine was designed as a Gunpowder Store in 1805. It comprises two raw brick barrel vaulted spaces (where the gunpowder was stored) and a lower square-shaped surrounding structure with a frontal colonnade. The building continued to be in military use until 1963. Since then Royal Parks used the building for storage. The Magazine thus remained underutilised until now. Over time, much amendment and alteration has occurred inside the historic building and its surroundings.
Instrumental to the transformation into a public art gallery was the decision to reinstate the historic arrangement of the Magazine building as a free standing pavilion within an enclosure, whereby the former courtyards would be covered and become internal exhibition spaces. In order to reveal the original central spaces, all nonhistoric partition walls within the former gunpowder stores were removed. The flat gauged arches over the entrances were reinstated whilst the historic timber gantry crane was maintained. Necessary services and lighting were discreetly integrated as to not interfere with “as found” quality of the spaces. These vaults are now part of the sequence of gallery spaces.
The surrounding structure has been clarified and rationalized to become a continuous, open sequence of exhibition spaces looping around the two central powder rooms, thus following the simplicity and clarity of Leo von Klenze’s Glyptothek as an early model for a purpose built gallery.
What was a courtyard before, became an interior top-lit gallery space. Longitudinal roof lights deliver natural daylight into the whole gallery sequence surrounding the central vaults and with a fi xed louver system they create perfectly lit exhibition spaces. Retractable blinds allow for a complete black-out of the galleries. The continuous sky-light makes the vertical protrusion of the central core of the building (containing the two vaults) legible on the inside. These reconstructions and conversions were designed in collaboration with heritage specialist Liam O’Connor and in consultation with English Heritage and Westminster City Council. In addition to the exhibition spaces the restored and converted Magazine also houses the museum shop and offices for the Serpentine’s curatorial team.
The extension contains a generous, open social space that we expect to enliven the Serpentine Sackler Gallery as a new cultural and culinary destination. The extension has been designed to complement the calm and solid classical building with a light, transparent, dynamic and distinctly contemporary space of the 21st century. The synthesis of old and new is thus a synthesis of contrasts. The new extension feels ephemeral, like a temporary structure, although it is a fully functional permanent building. It is our fi rst permanent tensile structure and realization of our current research into curvelinear structural surfaces. The tailored, glass-fi bre woven textile membrane is an integral part of the building’s loadbearing structure. It stretches between and connects a perimeter ring beam and a set of fi ve interior columns that articulate the roof’s highpoints. Instead of using perimeter columns, the edge beam – a twisted ladder truss supported on three points – dips down to the supporting ground in front, in the back, and on the free west side. On the east side this edge beam (and thus the roof of the extension) swings above the parapet of the Magazine. A linear strip of glazing gives the appearance that the roof is hovering above the Magazine without touching. The Magazine’s western exterior brick wall thus becomes an interior wall within the new extension without losing its original function and beauty. This detail is coherent with the overall character of the extension as a ‘light touch’ intervention.
The envelope is completed by a curved, frameless glass wall that cantilevers from the ground to reach the edge beam and fabric roof. The interior of the new extension is a bright, open space with light pouring in from all sides and through the 5 steel columnsthat open up as light scoops. The anticlastic curvature of the roof animates the space with its sculptural, organic fluidity. The only fixed elements within the space are the kitchen island and a long smooth bar counter that fl ows along the Magazine’s brick wall. The tables, banquets and chairs are designed as a continuous Voronoi pattern, reminiscent of organic cell structures. Our aim is to create an intense aesthetic experience, an atmosphere that seems to oscillate between being an extension of the delightful beauty of the surrounding nature and of being an alluring invitation into the enigma of contemporary art..
Project name: Serpentine Sackler Gallery Magazine Restaurant
Location: West Carriage Drive, Kensington Gardens, London W2 2AR, United Kingdom
Coordinates: 51.507185, -0.171514
Type: Adaptive Reuse / Redevelopment / Refurbishment, Restaurant / Coffee shop / Cafe
Program: Exhibition building, public space, restaurant, shop, offices
Site Area: 3,414 sqm
Internal area (usable): 1355 sqm
Building footprint: 1328 sqm
- Height 8.95m from the ground at the building’s highest point
- Maximum ceiling height internally Galleries: 3.60m
- Stores (2 rooms at front) 2.95m
- Powder rooms: 7.50m to top of vault, 4.30m to timber beams
- Western extension: (social space) up to 6.00m
Project Year: 2009-2013
Construction year: 2013
Completion Year: 2013
Opening Date: September 28, 2013
Visit Serpentine Sackler Gallery Magazine Restaurant’s website: here
Client / Owner / Developer: The Serpentine Trust
Architects: Zaha Hadid Architects – Studio London, 10 Bowling Green Lane, London, United Kingdom
Design: Zaha Hadid with Patrik Schumacher
Project Director: Charles Walker
- Phase 1 – Ceyhun Baskin, Inanc Eray
- Phase 2 – Thomas Vietzke, Jens Borstelmann
- Phase 3 – Fabian Hecker
- Phase 2 – Torsten Broeder, Timothy Schreiber, Laymon Thaung, David Campos, Suryansh Chandra , Matthew Hardcastle, Dillon Lin, Marina Duran Sancho, Jianghai Shen, Ceyhun Baskin, Inanc Eray
- Phase 3 – Torsten Broeder, Anat Stern , Timothy Schreiber, Marcela Spadaro, Inanc Eray, Ceyhun Baskin, Elke Presser, Claudia Wulf
Restaurant Mise En Scene & Gift Shop:
- Melodie Leung, Maha Jutay, Claudia Glas-Dorner, Evgeniya Yatsyuk, Kevin Sheppard, Carine Posner, Maria Leni Popovici, Loulwa Bohsali, Karine Yassine, Steve Blaess
- Conservation Architects: Liam O’Connor Architects
- Lighting: Isometrix
- Structure, Services, Fire: ARUP
- Kitchen: Sefton Horn Winch
- Planning Consultants: DP9
- Project Management: Rise
- Cost Consultants & Contract Administrator: Gleeds
Text Description: © Courtesy of Zaha Hadid Architects, Elle Decoration British Design Awards, worldarchitecturenews, arup
Images: © Zaha Hadid Architects, Luke Hayes, flickr-Artur Salisz, flickr-Gordon Haws, flickr-Treble2309