Egaligilo Pavilion

Egaligilo Pavilion

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Année du projet

Pabellón Tamayo - Egaligilo de Gerardo Broissin

BROISSIN en tant que Architectes.

Culture must be understood as an action and communication space, a circulation place, consequently this year (2019), the initiative “México Territorio Creativo (MXTC)” is presented. It´s objective is to foster, as it has been doing for 11 years through its platform “Design Week México”, design and architecture potential as a change agent, as a tool for facing global challenges and generating solutions to improve the quality of life of our communities.


Continuously, since 2013 remarkable national and international architects have been invited by MXTC, to create pavilions that generate different critical/esthetical questionings around our actual situation, it has turned into a platform for experimental projects from some of the best architects in the world. This year, MXTC presents Gerardo Boissin´s Egaligilo Pavilion.


By analyzing the subject, the relationship with the self, and the eternal search for the truth as a result, Michel Foucault describes how self-concern must be a constant questioning, it creates a principle of agitation and movement along the subject´s lifetime. Experience is what forces the subject to change, to be different form who he/she was before, and to distance from him/herself. The principle of agitation is what causes in the being specific creation necessities, in the matter that concerns us, generating spaces that can be considered in the limit of the public and the private.


Forthe Design Week México´s11th edition, the architect Gerardo Broissin creates in the Museo Tamayo´s garden the Egaligilo Pavilion, a space that can be interpreted as a tension between traditional and parametric architecture at first sight; an artifact that must be understood as artificiality and disguise, a space that blends into the natural surroundings, even though it was inexistent as a structure before.


The Egaligilo´s external structure remains light weighted and displays shape contrasts, it holds a living oasis inside, in which symbolism is exalted and gives the visitor the capacity to assume a new role, to reinvent him/herself following Foucault.


The distribution of the shapes allows the light, that affects the space in different moments, to enter, natural and artificial lighting creates different atmospheres.


A space that originally should have been outside is held on to walls that are capriciously opened to light, but can´t be penetrated by the gaze. This quality demands the visitor to immerse in space, and once again, creates a tension between the limit of the public and the private.


Broissin gives form and integrity to the different materials, creates shapes that can be called “living shapes” as a consequence of the relationship between their parts, that’s the reason the right way of communicating the meaning is by the physiognomic characteristics and not by the allusion of known shapes.


In terms of Lefèvre, Broissin achieves an “active occupancy of the space”. Every living body is a space and has its own space. It is created in space and at the same time creates that space. It is a remarkable relationship: the body, with its available energy, the living body, creates or produces its own space.


The pavilion, as the museum, attains a constant interaction with its surroundings, it blends in with the public space, being a place built and determined by the control structure achieved by the appropriation of it by the subjects. - Inbal Miller

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