Pavilions, An Aesthetic of Evanescence

Between Technique and Art

Ángel Martínez García-Posada 

Selgascano, detalle del pabellón de la Serpentine Gallery

This summer has brought us the much awaited coincidence of temporary constructions by three Spanish architectural practices in prestigious international forums: the Organic Growth Pavilion by Izaskun Chinchilla on Governors Island in New York, one of two winners of the City of Dreams competition; Cosmo, the water purifier by Andrés Jaque at MoMA PS1, also in New York; and the latest of the famous series of pavilions for the Serpentine Gallery at Kensington Gardens, in London’s Hyde Park, by José Selgas and Lucía Cano. Different channels have taken stock of the developments, from the nomination of candidates to the previews of their projects, sometimes even the funding of campaigns, and finally the implementation of promises. There are also three points of interest for analysis: that of the reality and reach of the final results of these three structures of artificial nature; that of the parallel values of gestation and communication processes; that which is inherent to the very essence of short life...

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