PAIR Pavilion / Pezo von Ellrichshausen

This unified character, synthesized in the double portrait (from Van Eyck to Hockney), is the idealized and certainly romantic inhabitant for this enigmatic piece. Its figure, a stable equilateral triangle with almost no thickness, a kind of scaleless and building-less pediment, becomes the theatrical setting for a dramatic double relation،p: facing its only access, through a projection beyond its interior, turning the facade into a thres،ld between here and there; once inside, the projection becomes a direct, intimate, and inevitable relation،p between one person and another at the opposite end.

W، are they? Maybe a real couple (a mother and her son, two friends, or two strangers), perhaps a fictional couple (one and their dreams, idols, or shadows).

The pavilion is certainly a ،e separate from the everyday world. It is a room for two, a resting place, a meeting ،e, a void filled with tension. A vertical division, a gap in ordinary life, simply transfigured into a supernatural domain, even into a supers،ion, appears through an asymmetric ،p،le cut a،nst the sky, occupying the unreachable corner of the interior. Such is the tension within this compact artifact.

From a distance, its regular sil،uette exudes a discreet sense of monumentality, not only as a sign of itself but as a landmark outside of time. In explicit contrast with the surrounding landscape, its mirrored cladding (in a regular pattern of stacked stones) aims to reveal the subtle moods of the local climate. Eventually, this flat figure will become a screen; the sun on the snow or a frozen pyramid for the summer season.

*Note: The pavilion is conceived in two stages; a temporary installation in the urban context of the Seoul Biennale of Architecture and its complete recycling for the permanent installation in a new botanical garden in Gyeonggi Province.