Rehabilitation of the Pavilion of the Future
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.