Prize Winner


The scheme challenges the relation between the photographic images of the original and the appearance of the copy. By introducing the presence of visually undefined surfaces, using semi-transparent and semi-translucent synergies of water, glass and electricity, the scheme mediates between the two. Laid out in a ledge around the pavilion blurry walls filter the actual view in 1:1 scale. While the blurring front wall (by the Placa de Carles Buigas) and side panels underline the exposure of the pavilion, the water surface tells of its remote site. Water acts not only within its function as an architectonic element, it also transforms the perception of such. So do the pools within the pavilion and so do the ponds of the Placa de Carles Buigas. Blurring allows one to walk past the pavilion and to see it over and over again, and yet to be reminded of the myth. Beyond the blur, the pavilion's copy in the background of the site, diffused, with bent edges, still recognizable, lingers in one’s sight. The environment is charged with the dual image, while one waits, walks or studies in the library of the proposed addition. Walking along the solid walls of travertine (to look at), along the transparent walls of glass (to look through), along the illusionary surface of the Onyx stone (to imagine the infinite landscape), along the three existing surfaces that have already pulled the viewer's focus to the infinite, there appears the fourth surface: the mystifying effect of water lenses, a constructed wall of water filled transparencies. By this blur, the well-known photographic images of the pavilion are evoked in transformation, using the ability of thick transparent surfaces to de-saturate and diffuse one’s sight. The view through the blur is about the sequence of a thousand new views of the pavilion, by-passing the need to focus on the rebuilt edges of the existing pavilion on the site.

© NAO / project credits