Antony Gormley & David Chipperfield’s Architecture for Subjective Experience

Photo by Gerry Johansson
The 2008 pavilion for Kivik Art Centre in southeast Sweden has been designed by Antony Gormley and architect David Chipperfield. The pavilion, which was constructed in only two months, is a sculpture entirely in concrete. Formed of three interlocked 100 m3 volumes – ‘The Cave’, ‘The Stage’ and ‘The Tower’ – the pavilion offers three different ways of experiencing the nature and landscapes around Kivik.

‘The Cave’ – a solid, dormant space in the base of the sculpture where one can rest on a wall-fixed bench, offers the enclosed feeling of being in the dark forest. Stairs then take the visitor up to the first floor – ‘The Stage’ – a horizontal volume open to the landscape, where one looks out but is also exposed. The third volume – ‘The Tower’ – takes the visitor up spiral stairs to a platform almost 18 metres above the ground, where one is rewarded with a spectacular view over the trees towards the Baltic Sea.

Kivik Pavilions is a project that combines architecture with art and design. Fundamental are issues of environmental solutions, a symbiosis of the landscape and the pavilion, local materials, and corporate partnership with industries in the region. The 2007 pavilion, called ‘Mother Ship’, was designed by Norwegian architects Snohetta, in conjunction with the photographer Tom Sandberg.

The pavilion will be open to the public from 19 July – 28 September 2008.
Kivik Art Centre
Bergdala gård, Svinabergavägen, Kivik, Sweden
Open 11.00 to 17.00 everyday until 28 September 2008 .

About Mark Westall

Mark Westall is the Founder and Editor of FAD magazine Founder and co-publisher Art of Conversation and founder of the platform @worldoffad

One thought on “Antony Gormley & David Chipperfield’s Architecture for Subjective Experience

  1. A most beautiful pavilion/sculpture. Had the sculpture been an arrangement of usable volumes perhaps the marriage of art of and architecture would have been far more compelling. I’m thinking of Fernando Romero’s Tea House Bridge project in China, and Toyo Ito’s turn at the Serpentine. None the less the piece is a historic marriage of mind and material.

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