In the direction of the bridge, the building consists of a procession of parallel concrete frames that change scale, from generous to intimate, then generous again to open on EuropaCity. Viewed from the front, the building is opaque, enigmatic, but the graceful curves come to envelop the visitors in this poetic procession. When visitors cross the first frames, they discover a building of great transparency, an inviting and open space whose vibrant activity draws them inward.

Buenos Aires is a lively city with a vibrant social life, but to our surprise it only has m of public green space per person compared to the nine square meters recommended by WHO. This was something BIG&#;s design could address. As a result, the two blocks are transformed into five towers. Each tower is given a different height to eliminate the sensation of a wall. The podium is reduced into semi-sunken pavilions, turning their roofs into green slopes. The bases of each tower are eroded diminishing the footprint and allowing a public park to expand.

Rather than a square tunnel through the building, the gateway is conceived as a smooth transition from one façade to the other, turning the surface of the museum inside out. In the direction of the bridge, the building will consist of a procession of parallel concrete frames that change in scale, from generous to intimate as you pass through. Similarly, the species of trees will range from big to bonsai and back again. The façade will seem to cave in like a loophole from front to back. Viewed from the front, the building is opaque and enigmatic. As people pass through, it turns out to be an entirely transparent space with works of art in all directions. The passageway becomes a promenade through an art archive. The building’s insides will be exposed on the outside, and its main façade will

Structurally, the pavilion was a giant self-supporting tubular steel truss, similar to the hull of a steel ship. The external façade structure was the buildings most efficient element. The perforation holes let in daylight and created natural ventilation. It was the only pavilion out of + that did not use mechanical cooling. Due to the structural performance of the truss, the degree of perforation varied with the structural stress along the façade.

Elements often repeat and continue from one side of the space to another to reinforce the idea of space continuity: a grid of Bulb fiction pendants designed by BIG Product across the north side, a grid of Artemide Alphabet of Light  lights around columns throughout the space & larger pill shaped lights across all meeting rooms. Each conference room is furnished with Scoop chairs designed by BIG for Halle. The color of the chairs designates the room.