The objective was to design a sculpture pavilion on the University of Memphis campus with consideration of context, programmatic components, materiality, spacial requirements, and circulation. The main purpose of this multi-purpose pavilion was to create spaces which correspond to and enhance three unique modern sculptures to be exhibited within the structure: Alexander Calder’s “Aluminum Leaves, Red Post,” Donald Judd’s “Box,” and Isamu Noguchi’s “Energy Void.” Careful consideration was to be given to the way in which the structure responds to and interacts with the site, the way one approaches and circulates through the structure, and how the design of the space for each sculpture echoes each artist’s philosophy regarding how the piece should be presented to the viewer. The project program called for three sculpture rooms/gardens, circulation space with seating arrangements that could be used for rotating exhibits, an outdoor classroom, meditation space, and a water feature. The concrete/wooden-screen pavilion is located east off a campus street behind a screen of four large oaks. The larger spacing between the first and second tree becomes a gate on the path to the main entrance. A second entrance is located on the south of the site along a path through a nearby green space that becomes an extension of the circulation space. The east portion of the site offers a beautiful view of an unoccupied green field that the three sculpture rooms open up to. The overall form of the pavilion evolved from three massive tubes representing main programmatic requirements (sculpture rooms, circulation space, and classroom with meditation space), split apart to create the required spaces of different functions. Conceptually derived motif of a squared off spiral becomes a common denominator of the three sculptures and is apparent in the floor plan of the sculpture rooms and sections of the circulation space. Each sculpture room creates a unique space for designated piece of artwork. The first room (furthest south) gradually opens to reveal the massiveness of “Box,” the second room weaves to finally reveal the view through “Energy Void,” while the last room is open on two sites to capture north-east winds and put “Aluminum Leaves, Red Post” to motion. All the spaces are bound by the rotating exhibit circulation space and reflecting pool that runs though and by the structure.