In Between Spaces2023LondonAcademic \ Royal College of Art
In Between Spaces2023LondonAcademic \ Royal College of Art
Abstract
In Between Spaces redefines the pavilion as a fragment of a journey. Using water as a key element, it invites visitors to traverse a changing landscape, contemplating time and space while reshaping the environment through their presence.
Full text
The pavilion is conceived as a fragment of a path, situated in Hyde Park between two poles. Its form evokes a diorama, first revealing water pockets as glimpses of a future journey. Upon entering the centre, visitors are surrounded by a panorama of the park, where the roof neutralizes the light, and the water ceases to mirror the sky, anchoring them in the present. Once they leave, the view back transforms the pavilion into a diorama of the past path, emphasising time’s cyclical nature.
The pavilion rejects traditional permanence, reflecting the impermanence of human presence and interaction. Visitors walking through the space carry droplets of water to central pockets, subtly reshaping the landscape with each step. This mirrors the Shinto-inspired philosophy of “in between,” where voids, transitions, and pauses articulate meaning. Water, in this context, embodies time’s fluidity, echoing the works of Song Dong and Kim Tschang in its capacity to symbolize life’s transient beauty.
As a pavilion, it resists static interpretation, becoming an un-pavilion where its core dissolves into experience. Only from the edges can one observe the water reflecting the sky and feel the interplay of past, present, and future. By doing so, the project crafts a dynamic landscape that evolves with its visitors, turning their movements into markers of time.
In Between Spaces celebrates the ephemeral, offering a fragment of landscape, a fragment of time, and a fragment of self.
The pavilion is conceived as a fragment of a path, situated in Hyde Park between two poles. Its form evokes a diorama, first revealing water pockets as glimpses of a future journey. Upon entering the centre, visitors are surrounded by a panorama of the park, where the roof neutralizes the light, and the water ceases to mirror the sky, anchoring them in the present. Once they leave, the view back transforms the pavilion into a diorama of the past path, emphasising time’s cyclical nature.
The pavilion rejects traditional permanence, reflecting the impermanence of human presence and interaction. Visitors walking through the space carry droplets of water to central pockets, subtly reshaping the landscape with each step. This mirrors the Shinto-inspired philosophy of “in between,” where voids, transitions, and pauses articulate meaning. Water, in this context, embodies time’s fluidity, echoing the works of Song Dong and Kim Tschang in its capacity to symbolize life’s transient beauty.
As a pavilion, it resists static interpretation, becoming an un-pavilion where its core dissolves into experience. Only from the edges can one observe the water reflecting the sky and feel the interplay of past, present, and future. By doing so, the project crafts a dynamic landscape that evolves with its visitors, turning their movements into markers of time.
In Between Spaces celebrates the ephemeral, offering a fragment of landscape, a fragment of time, and a fragment of self.