Pavilion In El Durazno
PAVILION IN EL DURAZNO
Nicolás Oks
ARCHITECTS
Nicolás Oks
PROJECT AND GENERAL MANAGEMENT
Nicolás Oks
DEVELOPMENT AND PRODUCTION OF WOODEN STRUCTURES
Sur Del Cruz, Dolores Mallea, Agustín Terrizzano, Natalia Marino
ENGINEERING
Leandro Griguol, Bruno Reynoso
CONSTRUCTIVE DEVELOPMENT
Santiago Conte Mac Donell
ASSEMBLY AND CONSTRUCTION
Eric Dans, Pablo Hernandez, Leandro Cuevas, Matias Fernandez, Andres Bednarz, Cesar Meza
PHOTOGRAPHS
Federico Cairoli
AREA
70 m²
YEAR
2024
LOCATION
Villa Yacanto, Argentina
CATEGORY
Installations & Structures
English description provided by the architects.
Situated on the mountain slopes, just meters from the El Durazno River, the pavilion emerges in an environment of Jesuit stone walls surrounded by native vegetation of molle and espinillo trees.
Facing north, the mountain range of the Sierras Grandes unfolds, where the Champaquí Peak can be glimpsed in the distance.
This project proposes to calibrate the air between the existing and the new, creating a dialogue between the original stone wall and the introduced structure.
In this void dwells a dialectical tension—an interstice where ruin and artifact become inseparable, forcing the intervention to acknowledge the memory of the site. Architecture ceases to be a sum of parts and becomes a system of relationships, manifesting as a habitable sculpture.
The intervention is consolidated into two pieces. First, a prism that resolves the housing program and functions as a semi-covered entrance; here, a concrete slab emerging from the earth narrows to pass through the original entrance of the corral, creating friction with the irregular stone of the wall.
Circulation then flows through a bellows that links the two pieces to finally reach the central pavilion. This structure rises as a three-tiered octadecagon culminating in a central skylight that captures zenithal light. At its lower level, the glass enclosure blurs the boundary, shifting the visual frontier of the space toward the ruggedness of the stone wall. This eighteen-sided volume is shaped by the rhythmic repetition of its own structure.
This dark and rugged skin, treated with the Shou Sugi Ban technique, reveals an interior of light-colored wood. It is a serene refuge that allows the eyes to rest from the vastness of the mountain landscape, fostering an atmosphere of contemplation ideal for practices of bodily and sonic experimentation.
The result is an artifact that seems to have always been there or to have landed by chance—an object that, like the stones containing it, retains the strangeness of that which cannot fully explain its own origin.
