During my stay in Korea I had the opportunity to meet the 평상 (Pyeong sang) an essential construction, consisting of... Read More
During my stay in Korea I had the opportunity to meet the 평상 (Pyeong sang) an essential construction, consisting
of a floating wooden platform placed on a stone foundation, used in public or
private places but always outdoors where it becomes the minimal form , symbolic
and original of the house as a room, the archetype that originates and opens
the built, thought, inhabited space.
Following this type of inhabitation, the 정자
(Jeongya), was born, which differs from 평상 by its canopy roof: a room open to the surroundings and
joined to the horizon, conceived for convivial use as a stopover for travelers
and therefore located along roads and paths.
The work I am presenting is entitled "Pavilion of
Quiet" and was born during the period of the coronavirus as a poetic
response to the human difficulty imposed by social confinement.
The choice of the module, repeated in alternating full-empty
rhythm circumscribes a space without enclosing it so drastically like walls
would do. This means that inside, outside, indoors outdoors essentially merge
The project of the "quiet pavilion" would thus be
an invitation to meet and stop in common areas, highlighting the intimate and
colloquial dimension of the house, the nest, and therefore of the family that
manifests itself in the encounter between people that by pausing together give
shape to the shared peace of quietness and silence.
I therefore believe that this work finds its identity more
in the production in series and therefore can constitute the offer of public
resting places to rest, refresh, talk, think.
This work stems from the deep interest I have in the
dialogue between plastic work and architecture, so I would like to conclude by
sharing a thought by Tadao Ando that has guided me so much and I feel close to: