Rehabilitation of the Pavilion of the Future

Situation Isla de la Cartuja, Sevilla
Area 8.583 m²
Year Concurso, 2017

Architects
Sol89. María González & Juanjo López de la Cruz

Collaborators
Rosa Gallardo, architect; Javier Cano and Cristóbal Galocha, architect students; Insur JG, facilities; Alejandro Cabanas, structure; Javier García, Energy efficiency

Technical Architect
Víctor Baztán

Client
Junta de Andalucía. Consejería de Hacienda y Admon. Pública

The Pavilion of the Future from the 1992 Universal Exposition in Seville, originally designed by Martorell, Bohigas, and Mackay, is essentially a large curved-section roof measuring 100 meters long by 29 meters wide, with a podium floor for installations and minimal relationship with its immediate surroundings. Its nature as a large exhibition container makes it difficult to repurpose for other uses, but its current state of abandonment calls for reuse—an opportunity that is intended to be seized to house the many Andalusian public cultural entities currently scattered across various locations.

Our proposal situates itself somewhere between Mies van der Rohe’s 1942 Concert Hall project and Do Ho Suh’s Perfect House installation from 2015. Both projects essentially propose housing a modest program under the protection of a pre-existing space. In one, Mies envisions installing a music hall inside Albert Kahn’s Glenn L. Martin Aircraft hangar in Baltimore, originally used for bomber production during World War II. In the other, Do Ho Suh designs a delicate, architecture-filled installation that reveals domestic relationships, protected by the museum gallery that houses it.

In both cases, the term “installation” is apt: architecture is split between the envelope that defines the occupied space and the fine interior skin that forms the inhabited space created by the new inserted structure. Between these lies a third space—the space around—a void densified by the encounter between the two architectures, shaped by the beam of the new occupying construction and the inner surface of the reinhabited shell. In both cases, as in the Samt & Seide café that Mies and Lilly Reich designed in 1927, Mies and Do Ho Suh are aware that the protective function is fulfilled by a higher-order structure, allowing them to experiment with new construction solutions, fabrics, silks, and abstract, dematerialized planes that establish new, evanescent relationships between spaces.

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Arriba, de izquierda a derecha: Do Ho Suh, 348 West 22nd Street, Apt. A, Corridor and Staircase, New York NY 10011, USA, 2011-2015; Mies Van der Rohe, collage del Concert hall en el hangar Glenn L. Martin Aircraft de Albert Kahn en Baltimore, 1942. Abajo: Sol89, maquetas de la propuesta para rehabilitación del Pabellón del futuro, Sevilla, 2017
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Our proposed project continues this exploration to some extent. The entire new program is gathered into a single luminescent volume—continuous yet articulated through folds and cuts—which occupies the vacant space in response to its required function, while also considering the altered void resulting from its insertion into the large pavilion container. The entire volume is clad in translucent polycarbonate, providing interior brightness and unifying the material expression of the new construction. This new volume interacts with different ceiling heights of the original space, climbing onto existing structures and, through a longitudinal fold, creates an interior street that organizes circulation—more private on one side and more public on the brighter flank.

In section, the floors do not align and the ceiling heights vary, a result of architecture inserted into a vacant structure, creating a third space—an in-between realm between the embracing pavilion and the new volume, dense and sculpted, which becomes a new landscape to be observed through reciprocal views in the absence of relationships with the exterior. Only in the multipurpose room—reimagined in our proposal as a shared meeting space where the interior street expands into a true lobby—is the original enclosure cut open to offer views toward the surroundings of La Cartuja Island, a place full of memories for the city and still awaiting a better future.

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