At the 11th annual Design Week Mexico, Mexican architect Gerardo Broissin created the Egaligilo Pavilion, an eye-catching structure made with large jigsaw puzzle-shaped concrete pieces. Installed on the grounds of Mexico City’s contemporary art museum Museo Tamayo, the boxy pavilion draws the eye with its puzzle-inspired form and bubble-like protrusions designed to deliberately obscure views of the interior. Inside is a lush garden that remains exposed to the outdoor elements thanks to small slits and perforations cut into the pavilion on all sides.

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Installed last year at the beginning of October, Broissin’s Egaligilo Pavilion builds upon Design Week Mexico’s tradition of using architecture and design to spur thought-provoking conversations. The basis for the Egaligilo Pavilion begins with the teachings of French philosopher Michel Foucault, particularly how the discovery of self is centered on a state of constant questioning. Broissin explores this “principle of agitation” by designing a space that juxtaposes seemingly opposite elements, from the inclusion of both traditional and parametric architecture to the concepts of the artificial and the natural.

For instance, the rectangular pavilion’s puzzle piece-shaped panels seem to suggest rigidity and order but are contrasted with the bubble-like dome protrusions and further undermined by the interior’s curved walls. A large circular opening marks one end of the pavilion and provides the only view inside of the structure, which houses a surprisingly lush garden with a mulch ground.

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“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,” Broissin said in the project statement. “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.”

+ Gerardo Broissin

Images via Gerardo Broissin