In the context of contemporary gallery spaces, the typical white cube gallery, with its disconnection from any exterior context, seems to be able to accommodate various kinds of artworks. However, this sterile white cube also becomes limiting for other kinds of work. With this, various contemporary works depart from the standard white cube gallery and, instead, embed themselves into the mundane spaces of everyday life.

Following all(zone)'s interest in local practice and the usage of minimum material and architectural elements to create a comfortable living condition in a tropical climate,  an alternative space is proposed for hosting and creating artworks that is in-between the controlled white cube and the uncontrolled outdoor space. The space is essentially a pavilion (or Sala ศาลา in Thai), the original typology of gathering spaces in tropical climate conditions. Also as an in-between indoor and outdoor space, the open platform allows for maximum connection to the surrounding rice field.

The pavilion's structure is based on the typical light structural system of local greenhouses, allowing it to be built with ease in a remote place using the most basic construction method. At the same time, the proportion of the space pays homage to Louis I. Kahn’s renowned Kimbell Art Museum (1972).

During Thailand Biennale, Chiang Rai 2023, the pavilion hosted artworks of Nigerian-American artist and poet Precious Okoyomon. After the Biennale, the pavilion became a permanent structure for the Chiangrai Contemporary Art Museum (CCAM).

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