
Calton Hill Play Shelter by O’DonnellBrown
Edinburgh, UK
This outdoor play shelter designed by Glasgow-based architects O’DonnellBrown is a new addition to the Collective, the centre for contemporary art in Edinburgh. The timber structure was desiged to be light and modular, featuring wooden elements and a polycarbonate roof. Open air and accessible, it is conceived as a multi-functional area for the centre. Photography: Ross Campbell

The Grater by Marcelo Sarovic + Jeannette Plaut
Santiago, Chile
A temporary pavilion, The Grater is used as an entrance structure to a Santiago fair ground. Made out of prefabricated parts, the project is designed to be perforated through to ensure light and air travels in order to mitigate the warm weather at the time of the fair. The entrance and exit are clearly defined, composed as distinct, opaque, grey looking boxes, contrasting the porousness of the main pavilion’s body. Photography: Nicolas Saieh

Kärdla City Pavilion by Bornstein Lyckefors Arkitekter
Kärdla, Estonia
The new Kärdla City Pavilion is located on Dagö Island, just off the country’s west coast. The project, which is made entirely out of wood, was assigned as a commission, won by Bornstein Lyckefors Arkitekter with Mareld Landscape. ‘The layout of the pavilion is a built on the idea of Hortus Conclusus, the enclosed garden,’ say the architects. ‘It’s a concentrated space, a void and container of space and landscape, a framework to relate to in the construction of the wider urban landscape. The walls surrounding the inside are serving only as a backdrop to the park.’ Photography: Tiit Veermäe

Rainbow Pavilion by O’DonnellBrown
Strathclyde Country Park, UK
This light pavilion is set in the Strathclyde Country Park, a green expanse including Scotland’s only 2,000m multi-lane international rowing course. The project was commissioned to Scottish architects O’DonnellBrown and artist Kate V Robertson as a multi-functional space for events and the park’s outdoor learning programme. The Rainbow Pavilion was a scheme for the North Lanarkshire Council, part-art piece, part functional architectural space. ‘This innovative commission for Strathclyde Park is an opportunity for children and young people to experience a different learning environment, without the constraints of the four walls of a traditional classroom. We hope it will inspire fresh ideas to think differently about our environment and highlight the way artists can inspire and engage us in challenging subjects. We have both the architectural and artistic talent in Scotland to do things differently,’ says the venue’s curator Patricia Fleming. Photography: Keith Hunter

Brugge Diptych by Jon Lott / Para Project
Brugge, Belgium
The Brugge Diptych is specially designed, temporary pavilion for the 2021 Brugge Triennale. Created by Jon Lott / Para Project, this large scale installation was conceived as an event space for the Triennale’s programming, ‘addressing issues in urban trauma,’ explain the architects. The structure is set on one of the city’s famous waterways and takes care to avoid any direct contact with the protected UNESCO Heritage city. ‘Through estrangements of orientation, material, scale, and posture, the pavilion attempts to recognize something of itself in its new neighbour. It seems both have their trauma to work through. Afterall, architecture is felt before it is understood,’ says the team. Photography: Stijn Bollaert

Types of Space by Palma and Hanghar
Logroño, Spain
This impressive installation - part art, part architectural pavilion, part urban exploration - is the brainchild of a team composed of Mexican architecture studio Palma and Spanish practice Hanghar. It was built in the northern Spanish city as part of this Septmber’s Festival Internacional de Arquitectura CONCÉNTRICO in the region. It is ‘located in the passage of the old Tobacco Factory of La Rioja, an urban space of narrow and elongated dimensions, filled by a monumental red brick chimney,’ explains the team. ‘The rooms, open to the sky, explore various spatial possibilities through a rotund geometry in plan while its domestic scale, so far away from the public space of the city, moves the occupant from visitor to inhabitant, allowing the possibility of interacting with the installation in a deeper way. The interiors provide those who pass through them with an unexpected atmospheric experience, which returns the inhabitant to an exterior condition that reminds him of the public nature of the intervention.’ Photography: Luis Diaz