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 and Patrik Schumacher 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 The 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 non-historic 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 the ‘as found’ quality of the spaces. These vaults are now part of the sequence of gallery spaces.
 
The surrounding structure has been clarified and rationalised 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 fixed 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 gallery shop and offices for the Serpentine’s curatorial team. 
Archisearch - LocationLOCATION
Archisearch - LocationLOCATION
Archisearch -  The Royal Parks` Magazine Building, to become The Serpentine Sackler Gallery  Kensington Gardens, London Photo: John Offenbach (c) The Royal Parks and Serpentine Gallery THE ROYAL PARKS` MAGAZINE BUILDING, TO BECOME THE SERPENTINE SACKLER GALLERY KENSINGTON GARDENS, LONDON PHOTO: JOHN OFFENBACH (C) THE ROYAL PARKS AND SERPENTINE GALLERY
Archisearch - Serpentine Sackler Gallery by Zaha Hadid Architects (c) Zaha Hadid ArchitectsSERPENTINE SACKLER GALLERY BY ZAHA HADID ARCHITECTS (C) ZAHA HADID ARCHITECTS
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES
Archisearch - Julia Peyton-Jones (right) and Hans Ulrich Obrist (left) (c) 2013 Dave BenettJULIA PEYTON-JONES (RIGHT) AND HANS ULRICH OBRIST (LEFT) (C) 2013 DAVE BENETT
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES
Archisearch - Serpentine Sackler Gallery (c) 2013 Luke HayesSERPENTINE SACKLER GALLERY (C) 2013 LUKE HAYES

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