FRIDA ESCOBEDO’S Pavilion at the Serpentine in London this year has none of the luminous joie de vivre Francis Kere regaled us with a summer ago, the spatial intrigue Bjarke Ingels Group offered in 2016 or the mesmerising filigree of Sou Fujimoto’s Cloud construct in 2013.

Formally, Escobedo’s three-metre high “walls,” made up of stacks of standard dark-grey cement roof tiles, demarcate two rectangular atria. On the inside, the lattice patterning filters and fragments outside vistas and shifts in light as well as any air circulation.

Escobedo has used triangulated breeze blocks when remodelling the Siqueiros gallery in Cuernavaca in 2014 to similar effect but on a larger scale.