The proposal addresses the constructive materiality of the pavilion from its interpretive and psychological dimension. It is presented in two acts for its development; the first one as an introductory form and as a frame of reference and the second act as an artistic intervention. In the first act, the surface of the pavilion materials is considered as a point of reference, proposing to the interpreting subject a turn of the object meant to be interpreted. For this hypothesis, we start from a relationship by similarity between the ink stains proposed by Hermann Rorschach (1884-1922) and the surfaces of the walls that set up the pavilion. As a second act, the materialization of three independent walls made of terracotta bricks joined with mortar is proposed. On the surface of each of these walls the drawing of three new ink stains made from their potential forms and interpretative possibilities will be penetrated. In this second act, the clay block is offered as an object of interpretation, where the brick walls are approached as a surface or skin that somatizes an internal dimension; which involves both the constructive history of the material and its role in 20th century architecture and urbanism. If the German Pavilion of 1929 symbolized the future of the modern house, the “Psychoarchitecture” proposal could offer an interpretation of the future of that modernity, now from a psychic and somatized dimension, understanding the clay brick as a skin that covers good part of the architecture and the city inherited from the modern project.