Kaila Looro Peace Pavillon

BIOLLIALY444

The idea behind the project is the will to create a place that could convey two kinds of feelings: by one side a sense of hospitality, consolation, protection and tranquillity and, on the other hand, a positive energy, a spirit of reaction from the horrors of the past. The first type of emotions is represented by the organic shape of the building; which invites people to cross its threshold and to live its spaces perceiving hospitality as in a warm hug. The second one, instead, is represented by the ascension, the vertical trend of the walls emphasized in a curve and slime line. The volume is closed and compact to protect itself from the city. It wants to be, in fact, a place of silence, a peaceful cave open only towards the nature, like the rice fields and the river. The apertures on the walls are thought as real places where to rest, contemplate and reflect. Outside, between the pavilion and the protection wall, there is a little garden with two elements: a tree and a water well, symbols of hope and life. The exhibition space is designed to be enveloping and to stimulate the curiosity of visitors. It brings them quickly inside but they are bound to slow down when they arrive in the place of player and reflection.

PLAN | 1:200 1. temporary exhibition 2. permanent exhibition 3. chapel 4. storage 5. well

A’

KAILA LOORO PEACE PAVILLON

CONCEPT 4

nature

3

city

RELATIONSHIP WITH CONTEXT

1 PLACE OF SOCIALITY

PLACE OF RESTING

ASCENSION 2 PLAN | 1:2000

A

5.

WATER COLLECTION SYSTEM

TELESCOPE TOWARDS THE RIVER

SECTION A-A’ | 1:100

KAIRA LORO_THE PEACE PAVILION BIOLLIALY444 The idea behind the project is the will to create a place that could convey two kinds of feelings: by one side a sense of hospitality, consolation, protection and tranquillity and, on the other hand, a positive energy, a spirit of reaction from the horrors of the past.

The first type of emotions is represented by the organic shape of the building which invites people to cross its threshold and to live its spaces perceiving hospitality as in a warm hug. The second one, instead, is represented by the ascension, the vertical trend of the walls emphasized in a curve and slime line.

The volume is closed and compact to protect itself from the city. The outer wall separates the building from the influence of the outside: on the market’s direction, for example, there are no holes. It wants to be, in fact, a place of silence, a peaceful cave opened only towards the nature, like the rice fields and the river.

The apertures on the walls are thought as real places where to rest, contemplate and reflect.

Outside, between the pavilion and the protection wall, there is a little garden with two elements: a tree and a water well, symbols of hope and life. On the other side, towards the popular market, there is a long shady seat integrated with the perimeter of the pavilion, so that anyone passing by can find refreshment without disturbing who’s praying inside.

You can enter inside of the pavilion through a wide, low pendant ramp in order to guarantee access to everyone. It is lifted up, compared with the earth level, to protect the inner space in case of river flood or torrential rains.

The exhibition space is designed to be enveloping and to stimulate the curiosity of visitors. It brings them quickly inside, but they are bound to slow down when they arrive in the place of worship and reflection.

The first room is dedicated to the temporary exhibitions and it is visible from the outside, while the second one is dedicated to the permanent collection, in a constant growing of solemnity. Inside the pavilion, thus, all around the chapel, blades of light or water come down from the top creating immaterial walls: that stimulates a rent from the rest of the world, a time and a place for contemplation and prayers. A holy space. This small, uncovered ring on the ground is identified by a pavement made of shells mixed with a base of clay, in order to filter water (the same that afterwards can be extract from the well outside the pavilion), it is not crossable except in correspondence of the entrance to the chapel.

The entrance of the place dedicated to the prayer is designed to make the visitor pass by a path strictly scanned, forcing him to slow down, enter the chapel and pray. In this way it is possible for the visitor to be in contact with the deepest past of himself, leaving his mind to memories, reflections and prayers.

The big gash on the wall at the end of the chapel, evident from the street thanks to a game of alignments, is the symbol of the deep sorrow of the war’s victims. Although, its opening towards the river and the nature is symbol of hope. The whole atmosphere is transferred also by the diffused light coming from the top and by the comfort material chosen for the intern: the cement for the seat and the mat for the pavement. In this way the atmosphere is like being at home, being in comfort with themselves in praying, rigorously in a universal religious chapel.

Thinking as a whole, everything is warmed by the colour of the rammed earth, the most widespread material of the entire construction. We decided to use this material for the walls not only for its chromatic