{"id":26491,"date":"2026-04-09T11:36:18","date_gmt":"2026-04-09T14:36:18","guid":{"rendered":"https:\/\/revistaplot.com\/?p=26491"},"modified":"2026-06-05T20:05:58","modified_gmt":"2026-06-05T20:05:58","slug":"pabellon-en-el-durazno","status":"publish","type":"post","link":"https:\/\/curiosistas.com\/en\/pabellon-en-el-durazno\/","title":{"rendered":"Pabell\u00f3n en El Durazno"},"content":{"rendered":"
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Fotograf\u00eda Federico Cairoli<\/figcaption>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div><\/div>
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Located on the mountainside, just a few meters from the El Durazno River, the pavilion rises. It stands amidst Jesuit stone walls, surrounded by native vegetation of molle and espinillo trees. Looking north, one can see the Sierras Grandes mountain range, where Cerro Champaqu\u00ed comes into view.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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The project proposes to calibrate the space between the existing and the new, creating a dialogue between the original stone wall and the introduced structure. Within this void resides a dialectical tension, an interstice where ruin and artifact become inseparable, compelling the addition to acknowledge the site's memory. Architecture ceases to be a sum of parts and becomes a system of relationships, manifesting itself as a habitable sculpture.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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The intervention is consolidated into two parts. A prism that resolves the housing program. This functions as a semi-covered access area, where a concrete slab emerging from the ground narrows to pass through the original entrance of the corral, causing friction with the irregular stone of the dry-stone wall.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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Visitors then pass through a connecting passageway between the two sections, finally reaching the central pavilion. This rises as a three-tiered octadecagon, culminating in a central skylight that captures zenithal light. In its lower tier, the glazed enclosure blurs the boundary, shifting the visual limit of the space toward the rough texture of the dry-stone wall. This eighteen-sided volume is configured through the rhythmic repetition of its own structure.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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This dark, rough exterior\u2014treated with the Shou Sugi Ban technique\u2014reveals a light wood interior. A serene refuge that allows one to rest their gaze from the immensity of the mountain landscape. This space fosters an atmosphere of contemplation, conducive to developing practices of bodily and sound experimentation.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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The result is an artifact that seems to have always been there or to have landed by chance; an object that, like the stones that contain it, retains the strangeness of that which does not quite explain its own origin.<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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