The Mushroom Pavilion has opened at Fundación Casa Wabi in Puerto Escondido, marking a significant intersection of architecture, craft, and ecological design. Designed by Shohei Shigematsu of OMA, the project introduces a spatial experiment that merges agricultural infrastructure with a public-facing cultural program. Moreover, it represents OMA’s first completed work in Mexico, expanding the firm’s global design footprint.
A pavilion shaped by landscape and community
Set within the coastal grounds of Fundación Casa Wabi, founded by Bosco Sodi, the pavilion occupies a 65-acre site between the Pacific shoreline and the Oaxacan mountains. Consequently, its placement reinforces a dialogue between built form and natural terrain. Conceived as both a functional space for mushroom cultivation and a communal hub, the pavilion sits within Casa Wabi’s expansive coastal landscape founded by artist Bosco Sodi.
The pavillion is characterized for its ellipsoidal form was designed to optimize interior organization. Internally, three distinct chambers—fruiting, incubation, and storage—encircle a central gathering area. As a result, the design supports both production and social interaction, underscoring a hybrid typology that aligns with contemporary art and design discourse. Furthermore, the central void operates as a shared nucleus, encouraging exchange among visitors, artists, and local participants.
Spatial design as immersive experience
Architecturally, the pavilion’s stepped lower volume functions as an amphitheater, integrating display and cultivation into a single spatial gesture. In particular, the terraces accommodate handmade terracotta mushroom vessels produced by regional artisans, linking the project to local craft traditions. Additionally, this configuration enables a panopticon-style viewing condition, allowing visitors to observe the full lifecycle of mushroom growth.
At the same time, a circular oculus punctures the roof, drawing daylight into the interior and heightening the sensory experience of the space. Meanwhile, perimeter apertures ensure cross-ventilation, reinforcing passive environmental strategies. A raised platform crowns the stepped geometry, and it frames views of surrounding vegetation and the Pacific horizon. Therefore, the pavilion maintains a continuous visual and spatial connection to its setting.
Material strategy and evolving form
Materially, the structure relies on poured-in-place concrete, treated with a burlap imprint that captures the site’s mineral qualities. As a result, the surface retains iron-rich water, enabling gradual oxidation that will alter the pavilion’s appearance over time. In this way, the architecture embraces weathering as a design feature rather than a limitation.
Equally important, the curved base reduces direct impact on the ground, preserving native plant life such as guayacan. This approach reflects a broader sensitivity to ecological integration within contemporary design practice. As Shohei Shigematsu noted, the project was conceived to balance a very specific function – mushroom cultivation – with a broader cultural mission of fostering community and artistic exchange.
Ultimately, the Mushroom Pavilion positions itself at the intersection of art, architecture, and environmental design, offering a model for how small-scale interventions can generate both cultural and ecological impact.