Ambient 30 60

The empty Pavillion
The translucent curtain and the interior
The plan
By night
The Context
The project was filled with artworks through its life cycle
The main cubes
Occupied Interior
Empty Interior
In the park
The Interior with artworks and people
The table

Primary Author

  • UMWELT

Author

  • Constructo

Photographers

  • Cristóbal Palma

Objectives

For the intervention we propose a project based on two main conditions: On one hand, It will generate a precisely defined ambient through farming techniques using shadows, humidity and water, and on the other, it will work as a platform to place a new program in the park, a container of artwork and events. Both conditions are achieved through a unique spatial strategy, the provision of 30 spatial frames. These will be positioned over an area of 17 x 26 meters, creating an artificial environment, a particular space within the park, both in climatic and programmatic terms. As in a “Wunderkammer” the container and the content are mixed in one single spatial entity, the architecture blurs itself with its content on a particular spatial experience, an accumulative process that evolves and grows over time.

Context

The historical relation of YAP as a complement to cultural institutions (PS1, MAXXI, Istanbul Modern) and the fact that last year Santiago´s YAP context was changed, from a cultural center to a public park (Parque Araucano), allows us to rethink the possibilities of the project brief. In this new context, the project has the explicit aim to become itself an opportunity to insert a cultural program in the park, starting from its own eventual and temporary conditions. Complementing and reflecting the YAP´s character as a cultural agent, while creating a climatic and programmatically conditioned space open to a wide and diverse audience.

Performance

Connecting these 30 frames will be an intermediate shadow space covered with mesh. This mesh together with translucent curtains on the perimeter will create a strong recognizable entity. When closed it suggest its interior to the outside while on the inside it will diffusely reveal the park on its perimeter. The timing of the installation of objects and events allows to design the projects life cycle. Two months, eight weeks, sixty days; exhibitions, events, workshops, concerts and openings complete a project always in the process of making. Each frame will be a microcosm, unique in size and position. In this work not only the opening is important but also its closure, when the objects transformation will be complete.

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The empty Pavillion