Space is not absence. ‘Emptiness’ is predisposed to a specific character. 
“A Being finds itself at the top of a long flight of stairs. 
Slowly, taking time, its vision traverses the space, 
till it comes to rest at the point of termination, on a beloved object.
 
What does the being see?
 
The  beloved object.
 
But is this all.
 
A Being finds itself at the top of a long flight of stairs. 
Slowly, taking time, its vision traverses the space...
 
And thereby is seen,
not just the point of termination, a Her,
but that which  is-terminated, a nOt Her,
the space (in) itself.

Presence is composed of two elements, the density of (what) matter(‘s) as it inheres in a beloved object, and the in-density of the space which surrounds and flows through this. Though we may have density without space as in black holes, or space without density as in vacuums, for the purposes of everyday life Being always exhibits both density and space.” – Christine Wertheim
 
 
The preconception of space as absence is the result of conflict between the Signifier and the Signified. A common dispute in fields such as language, or as more commonly experienced in architecture, in the language of depiction.
The struggle in depiction one of how representation is interpreted, the mark on the page viewed as significant, the gap between marks viewed as inconsequential. This though is not the case as space has presence. It is for these reasons that movements such as the outsider artists (who have a focus on filling those voids between solid objects) have attempted to challenge these preconceptions.
 
The pavilion explores these notions in their correlation to contextual fabric. A response to an architectural climate as opposed a specific built form. The design intention to illicit an awareness of context outside the self. The users are intended to develop an understanding of their environment, and their place within it.
 
Sited on a peripheral zone of the old central city, the site may be viewed as a transient space. The context one in which the rational city grid loses its purposeful structure. The decrease of density/program/function leads to a loss of coherent sense of place with the result of an isolative experience, contrasted through ‘solid’ and ‘void’.
The site is a product of the discontinuous and inconsistent growth of the city. It is that strange point, or grey zone, in which the clash of unrelated programmes occurs, defined by harsh edges. Residential vs. Industrial vs. Commercial vs. Educational.
It is a non-place in many senses, simply another subliminal point passed in transit.
 
The altered site has no specific function, it is a residual space in the city of an unruly nature. The southern side is used as an informal taxi rank, some footpaths cut between the shortest pedestrian routes between the roads. The site has served as an illegal dumping ground, has been clearly previously graded, and is a repository of litter. The plant life of the site is indicative of a highly disturbed terrain, much of it just sand.
 
The pavilion thus resolves it’s response to context as a landscape intervention. Interpreting the definition of pavilion as:
·         an architectural design serving no purpose but itself (as in fine art)
·         a temporary installation.
·         a place of sporadic event.
 
In addressing these interpretations the pavilion attempts the simple and sometimes vague re-codification of site.
Emphasis put on immediate context, not the pavilion or its elements (so as to avoid the formation of additional objects). This non-(object) thought translates towards design of the signified and not the signifier (i.e. forms resulting from space and not space resulting from form).
A series of isolative elements are the means by which this re-codification is achieved.
 
The isolation of the elements is in mimicry of the larger context, yet manipulated to result in contrast. This contrast stems from the internal interruption of landscape, and not as is usual in the interruption of landscape by object, and as such there is a consequential interpretive dichotomy.
The elements then through typical interpretation seem as though carved from objects, often expressed as orientated, folded, self-structural, coherent forms which are however  intended as dispositif devices (effects are drawn from operation as device and not from operation as object).
 
These devices operate in various ways towards similar effects.
Images of the immediate context are displayed on specific buildings surrounding the intervention. These images allow users to (re)compose their situation within their own mind, much like a cubist painting, forcing a direct awareness and (re-)interpretation of their context.
Two main movement routes exist, these placed along existing movement lines, though now made independent. The one is an elevated steel walkway, supported as though torn from the landscape, rusting over time and echoing footfalls. The walkway flairs open towards the inner city, is separate at all points from ground and has perforations that define an alternating opacity. The other movement route is of concrete and is almost channel like, negating the sloped difference in height over the site. Folded to form a retaining wall on a side and then a storm water gutter on the other, the pathway is made by such an action to be in isolation. A slight step occurs along the path, creating a slight threshold. The walkway then rises in a ramp/stair combination that flairs on the southern side, to be utilised as place for the existing informal taxi rank. The design however breaks the constraints of typical site, fragmenting the grid system of the road, the subtle differences in texture and grade serving to change the experience to those passing in vehicles (and so an awareness to the site).
The landscape is then itself manipulated by orientated folded grass planes to create buffers between elements, that aligns views or serve as open space with the Fauna growth left to its existing state.