The London Cross Pavilion stands on the expansive estate of a prominent art collector in Bedford, New York. The pavilion stands among, but apart from the many large-scale sculptures yet in direct proximity to two other Rich Serra steelworks. The reddish-orange from the oxidation of the steel and curvilinear in form of the flanking sculptures are in direct contrast to the stark blackness of the Shou Sugi Ban siding of the London X Pavilion. Serra’s sculpture composed of two fifteen-ton weathering-steel plates measuring 40’ long, 7’ tall and 2-1/2” thick. Balanced on its edge, the lower steel plate runs diagonally between two corners of the room, while its counterpart, perched atop with a point load at midpoint and running perpendicular to it, is held in place by the specially constructed hydrated-lime wall partition resisting only the plate’s rail loads. The lower plate defines a plane that bisects the pavilion into two galleries, bringing an immediate awareness to the presence of the unseen side. Due to the mass and finish of the weathering-steel plates, the design mandated a carefully choreographed sequential dance between professional riggers and contractors to install the plates and the interior partitions during temperate weather to address temperature and RH control prior to commissioning the remotely located MEP system connected underground. Once complete, the pavilion interior spatially, figuratively and contractually became Serra’s “art piece.” The sculpture remains protected from the elements within the confines of the art pavilion, the dual weatherproof steel plates retaining their deep, rich grey with mill scales intact, as they assert a rigid monumental presence on the surrounding space. Inside the pavilion presents a serene blankness of white space that encapsulates the massive steel plates, one balancing on the other and washed with the natural light from the hidden skylights above.