gooood访谈专辑第十九期 – Pezo von Ellrichshausen

建筑在其最理想的形式下,是我们对世界的所有体验的延伸。

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gooood团队采访世界各地的有趣创意人,欢迎您的推荐和建议。第19期为您奉上的是南美新锐设计事务所 Pezo Von Ellrichshausen。更多关于他们:Pezo Von Ellrichshausen on gooood

gooood team interviews creative from all over the world. Your recommendations and suggestions are welcomed! gooood Interview NO.19 introduces Pezo Von Ellrichshausen. More: Pezo Von Ellrichshausen on gooood

出品人:向玲 Producer: Xiang Ling
编辑团队:向玲,武晨曦,陈诺嘉,鹿璐 Editor: Xiang Ling, Wu Chenxi, Chen Nuojia, Lu Lu

 

 

Interview
gooood x Pezo von Ellrichshausen

 

1.

你们说过“我们希望通过建筑体现价值,而非仅仅给出解决方案”,请问这里的“价值”具体是指什么样的价值?
You have once said that you expect to embody value through architecture, rather than just providing solutions. Specifically, what does “value” mean here?

Sofia我们认为建筑的“价值”在于空间的品质,在于其最具建筑性的维度。不过,在我们看来,建筑空间的价值与其它任何人工产物的价值并无二致,因此它应当被理解为一种对人的需求的直接转化。一件事物之所以富有价值、意义和重要性,是因为它能够帮助我们解决一些我们自己解决不了的问题。也就是说,建筑就和锤子或者望远镜一样,是一种能够帮助我们扩展能力的装置,它并非某种单纯的存在,而是包含着更深层次的、值得我们去探索的内涵。锤子是手臂的延伸,望远镜是眼睛的延伸,这两种延伸都是局部性的。而建筑,在其最理想的形式之下,应当是我们对世界的所有体验的延伸。

Pezo:这种体验意味着我们对记忆、对日常生活乃至对梦境与幻想的感知。建筑的价值是双向的,它不仅关乎其创作者和建造者的想法和情绪,还关乎最终生活在其中的人的想法和情绪。建筑的形成本身便具有特定的价值,它是一种意识形态和信仰的产物,但是,建筑体验的完满度和人造空间带来的直观感受最终取决于个体和社会的价值体系。说得简单点就是,在一栋简陋或普通的建筑中也可以生活得美好而有意义,而同样地,在最精致华丽的建筑中也会发生糟糕和丑恶的事。因此价值必然是一个相对的概念。我们相信,既然我们认同了做建筑的目的是满足人的重要需求,我们就能够将它转化为更加具体和确切的价值。而为了做到这一点,我们不仅要关注如何满足需求——不是单纯给出一个宽泛的答案,而是要使每一个具体的需求都得到满足,还要理解这些需求背后的东西。我想在今天,解决量化的问题要比满足人的各种需求要容易得多,因为后者已经超出了基础生理需要的范畴。

▼Pezo Von Ellrichshausen部分作品一览,part of the projects by Pezo Von Ellrichshausen

Sofia: We believe that the “value” of architecture lies in the quality of space, in the experience of its most architectonic dimension. Yet, in our view, the value of an architectonic space does not differ from the value of any other manmade object. Therefore, it should be understood as the direct translation of a human need. An object becomes valuable, important, meaningful for all of us, the moment it helps us to solve something we could otherwise not solve alone. In other words, a building, the same as a hammer or a telescope, is a device that helps us extend our own capacities not only to be in the world but also to wonder about it. A hammer is an extension of our arm, the telescope is an extension of our eye. Both are partial extensions. Architecture, as we would prefer to understand it, in its most ideal form, should be an extension of our whole experience of the world.

Pezo: And certainly that experience implies an awareness of our memory, of our everyday life but also of our dreams and fantasies. Thus, the value of a building has a double direction. It is relative to the ideas and emotions that someone had during its invention, while doing an architectural project, but it is also relative to the ideas and emotions of those who end up living in those very invented spaces. The production of architecture implies a certain value, an affiliation to ideologies and beliefs, but the completion of the architectonic experience, the directness of being in a manmade space, is ultimately dependent on the value system by which individuals or societies perceive it. In simple terms, a beautiful and meaningful life can happen in an ugly and generic building. In the same way, a horrible and egoist life could happen in the most sophisticated and handsome building. Of course, value is a relative term. We believe we can turn it into something more concrete and undisputable the moment we agree that the main purpose of doing architecture is to fulfill vital human needs. And in order to do that, we have to pay particular attention both to the act of fulfillment, which is not a mere answer but the very satisfaction of something, and also to what we understand by vital need. I suppose, today it seems much easier to solve quantitative problems than to satisfy a vital human need, a need that exceeds our mere biological functions.

▼体现情感的建筑,architecture with emotions

↓ Loba住宅(点击这里查看更多)Loba House (click HERE to view more)

 

2.

手绘草图在设计过程中有怎样的作用?你们的手绘草图中的色彩多样斑斓,但建筑作品的材料与色彩都非常克制,请谈一谈这种反差。
What is the role of the paintings during your design process?Usually, the hand drawings are with vibrant colors, which contrasts to the calmness of the actual appearance of the building. What lead to this kind of contrast?

Sofia:我们的创作一直游走在艺术与建筑之间,或者说不同的媒介之间。我们喜欢通过各种不同的表现形式来进行艺术创作,而这种形式之间的转换通常是无意识的。我们将其视为同一件事物产生的不同反响,就像是一种找同义词的练习。不过,每种媒介都需要借助不同的方法来处理不同范畴的考虑因素。我们永远不会将建筑空间与绘画中的空间混为一谈。绘画是基于平面进行的,它是空间的成像;而建筑不单是三维的,有时甚至是四维的,它同时意味着运动与时间,是一种动态的现实。遵循某些特定的方法,这种复杂难懂的建筑性的现实可以在绘画产生的虚拟空间中得到阐述甚至放大。用鲜艳的色彩绘画,即是在用一种基本的方法构建意象、内容和价值。一个基础的平面通过线条、色域和纹理被逐渐填满,在这一过程中并不会产生真正的空间。建筑则完全不同,每一个在现实世界中被构建出来的空间——好比花园中央的小房间——都充满了切实的色彩、光影和温度。在其他语境中,建筑的物质现实总是与动态且持续变化的视觉环境相关。在建筑中不存在真正的“空白”,这与空白的画布和纯粹抽象的绘画空间是截然相反的概念。花园中的小房间将永远被草地的葱郁、晨光的清澈和云层的浮动所映染。

Pezo:如果说我们的绘画是在抽象空间的领域内通过形式和色彩探索建筑的品质,那么我们的建筑则是在复杂的现实空间内借助墙壁、地面、屋顶和门窗来探索建筑的品质。如果在绘画中,色彩是一个必然存在的属性,那么在建筑中,色彩则是连续的、彩色场域中的一部分。基于这一不可否认的事实,我们倾向于在建筑中更加谨慎地运用色彩和饱和度。

▼手绘草图,色彩丰富,colorful sketches

Sofia: Our production is always oscillating between art and architecture, from one medium to another. We enjoy doing art through various manifestations, just shifting from one format to another almost without noticing. We read it as the reverberation of the same thing, somehow as a tautological exercise. Yet, each one of the mediums demand for a different approach, for a different range of factors and considerations. We would never confuse an architectural space with a pictorial one. While painting is flat, it is a simulacrum of space, architecture is not only three dimensional but four dimensional, since it implies movement and time, therefore it is a dynamic reality. By following certain conventions, the depiction of that elusive architectural reality can be resumed and even exaggerated within the fictional space of a picture. When we decide to do a picture in bright colors, we are using one of the basic means by which the image, the content and its values, can be constructed. There is a supporting plane that is progressively filled with lines, color fields and textures. There is nothing really spatial in that construction. The case of a building is totally different. Any room constructed in a physical reality, a little room of a house in the middle of a garden for instance, is a place already filled with a myriad of colors, tones and temperatures. Among other dimensions, the material reality of architecture is always relative to that dynamic and ever changing visual context. There is no such thing as a “void” in architecture, which is the opposite of a blank canvas, the pure abstraction, of the pictorial space. That little room will always be tinted with the green of the grass, with the blue of the morning light, with the movement of the clouds and so forth.

Pezo: If our paintings are explorations of architectonic qualities by means of form and color within the realm of an abstract space, our buildings are explorations of architectonic qualities by means of rather simple walls, floors, roofs and openings within the complex nature of a real space. If painting assumes color as an absolute attribute, buildings assume color as part of a continuous chromatic field. Since this is an inevitable fact, we tend to be more discreet in the palette and saturation of colors that we use in our buildings.

▼图画和建筑在空间构建上有着本质的不同, spaces in the sketches is totally different from those in a building

↓ Loba住宅(点击这里查看更多)Loba House (click HERE to view more)

↓ Rode住宅(点击这里查看更多)Rode House (click HERE to view more)

 

3.

你们经常使用水泥和木材,为什么?同时请谈一谈你们对材料的看法。
Why do you often use concrete and wood in your projects? Could you share your opinions on materials with us?

Pezo:在我们看来,建造的技术、方法和材料是创作过程中最不稳定、最难确定的因素。我们只会在空间结构被确定之后才开始测试材料的一致性。材料密切依赖于每个项目的实际状况,它关系到天气、传统、经济乃至场地的整体生态。即使是最具概念性的空间,也需要根据具体的原则和可能产生的影响来决定自身在实际场所中的立足方式。我们之所以倾向于使用木材和混凝土,是因为我们从其身上发现了相似的品质。尽管木材和混凝土在重量、温度和耐磨度方面存在着明显差异,但二者在某种程度上属于同一种材料类型;它们虽然分别属于矿物和植物,却拥有相同的感知谱系——皆是以聚少成多的方式,由小的片段构成大的整体。我们喜欢在建筑中看到人的痕迹。有时候我们会用倾倒在木制模具中的液体混凝土进行建造。木头在这里成为了一种临时的容器,并将作为人造物、墙壁或者立柱的记忆继续存在下去。我们感兴趣于这种可反转的特质,基于这种特质,混凝土结构可以被理解为木制结构的反向形式。

Sofia:我们研究了木结构和混凝土结构的诸多细节。它们的确在建筑材料的完整性方面呈现出相同的倾向。正如Pezo之前所提到的,它们在概念上有着相同的维度;木材和混凝土都可以被解读为人类劳动的记录。此外,它们也都具有为空间赋予相似纹理、质感和尺度的潜力。相比于僵硬冷峻的材料,我们确实对这种能够使空间结构产生柔和变化的材料更感兴趣。木材和混凝土在一定程度上都能为建筑空间赋予温暖、质朴且不加矫饰的品质。

▼混凝土 – 留有人的痕迹的材料,concrete – material remains a memory of man made object

↓ Loba住宅(点击这里查看更多)Loba House (click HERE to view more)

▼木材 – 留有人的痕迹的材料,wood – material remains a memory of man made object

↓ Rode住宅(点击这里查看更多)Rode House (click HERE to view more)

Pezo: The technique to make a building, its construction methods and materials, are for us the most volatile factor to be articulated during the production of a project. We only test the material consistency when the spatial proposition is defined. Materials are intimately dependent on the circumstances of every case. They are relative to the weather, the tradition, the economy, the whole ecology of a place. Even the most conceptual spatial composition needs to be grounded in a material place, with a material set of principles and their consequences. We tend to use wood and concrete because we see in them an equivalent quality. Despite their obvious difference in weight, temperature and resistance, concrete and wood somehow belong to a same material nature. Of course, one is mineral and the other is vegetal, but we want to look at them as if belonging to the same sensitive lineage; to the type of matter that accumulates tiny fragments into a larger totality. We like the notion that there is a human trace embodied in the construction. Sometimes we make constructions out of liquid concrete contained into wooden moldings. It is the wood which, working as a provisional container, remains as a memory of a man made object, of a wall or a column. We are interested in that reversible condition, in the way in which concrete has to be conceived as the negative of another form, of a wooden one.

Sofia: We have studied many details for both wood and concrete constructions. They can indeed be faced as variations of the same attitude towards the material integrity of a building. As Pezo mentioned, there is an equivalent conceptual dimension; both wood and concrete can be read as a record of human labor. Yet, there is also the potential of a similar grain, texture and scale of the walls and ceilings that configure space. We are indeed interested in that soft material translation of spatial structures that otherwise might become too rigid or severe. Both wood and concrete can imprint a degree of warmth, rawness and modesty to the architectonic space.

▼混凝土和木材结合,赋予空间温暖、质朴的特点,concrete and wood imprint a degree of warmth and rawness to the space

↓ Cien住宅(点击这里查看更多)Cien House (click HERE to view more)

 

4.

设计是怎么开始的?从剖面,平面或者是其他方式开始? 原始图形(方形,圆形,其他几何形)在设计的哪一步介入?你们是如何看待作品中的原始图形? 此外,在设计中你们最重视的是哪一个要素?
How do you start a design? From plan, section or something else? In which step will the basic geometric figures (rectangles and circles etc.) be involved in your design? What is your opinion on basic geometric figures in your works? In addition, what do you think is the most important factor of design?

▼由简单的原始图形构成的作品,projects composed of original figures

↓  Vara展馆(左)柱阵庭院(中)铃铛展馆(右)
Vara Pavilion (left) Hall Pavilion (middle) Bell Pavilion (right)

Sofia:这句话里有好几个问题,就从最后一个说起吧。我们认为一个项目中并不存在所谓最重要的考虑因素。建筑是一个复杂的、协同运行的实体。因此,至少对于我们来说,除非是出于对历史或人物本身的好奇,我们并不会去在意一位设计者是先考虑楼梯的尺寸,还是先考虑屋顶的颜色。建筑是十分确凿的事实,它们以一种静默无声的方式即时地发生。我们认为设计的步骤并不会影响对于一座建筑的感知和理解。你可以说门把手是最重要的,也可以说厕所的位置是最重要的,当然也可以说从街道上感受到的建筑高度才是最重要的。但这一切不过是一种虚构的描述。

Pezo:这其实是一种普遍的误解。一方面,建筑首先存在,而另一方面,这种存在本身也可以有多种展现方式。建筑是一种与现实和解的手段。但无论如何,我想这个问题在试图揭示一些能够从我们的平面图中得出的更为本质的现象。我理解这种对于形态系统的假定,当然,你可以从平面中读出正方形、长方形和圆形等等,但在实际的体验中,这些形态会变得不再明显。而如果说我们的作品中确实包含某种几何偏好,那也绝对不会是投影几何或者解析几何。我们所感兴趣的是通常所说的拓扑几何,它是一种存在于空间中的关系系统。也就是说,我们认为一个房间的平面是方形、圆形还是三角形并不十分重要。我们会花更多时间去讨论它的朝向和尺寸,以及它如何与其他具有特定朝向和尺寸的空间共同构成一个整体的空间序列。我们所关注的是关系而非形态。

▼对原始图形关系的研究,studies in relationships in original figures

↓ 外形研究,Finite Format

↓ 室内空间研究,Interior study

Sofia: There are many questions in one sentence. Starting by the last one; we do not think there a single most important factor to be considered for a project. A building is a complex reality that operates simultaneously in the world. Therefore, it is of no importance, at least for us, other than a historiographical or biographical curiosity, to know if the author decided the color of the roof before thinking about the size of a staircase. Buildings are conclusive facts. They happen at once and in a rather tacit, mute, mode. We believe that processes are irrelevant for the perception and understanding of a building. One could say that the most important factor is the door handle or the position of the toilet or the height of the building seen from the other side of the street. But all of that would be no more than a fictional narrative.

Pezo: This is a common misunderstanding; on the one hand, there is the presence of a building and, on the other, there is the representation of that presence. The project is a means, a mediation, for the reality of the building. Anyhow, I suppose that the question is trying to unveil a rather basic aspect that can be read in some floor plans of our buildings. I understand that an implicit system of proportions seems apparent. Of course, on a plan you can read squares, rectangles, circles, etc. In the experience of a building the figures are less evident. Yet, if there is a geometrical obsession in our work, it is definitely not a projective or analytic one. We are interested in what is generally known as topological geometry, which is a system of relationships in space. In other words, for us it is not so relevant to discuss if the shape of a room is a square, a circle or a triangle in plan. We spend more time discussing the direction and size of that room, and the way it is part of a spatial sequence together with other rooms of specific sizes and directions. We are really not interested in figures but in relationships.

▼关注原始图形之间及其与空间的关系,而非图形本身,focus on relationships, not figures

上:Vara展馆(点击这里查看更多),above: Vara Pavilion (click HERE to view more)
下:Cien住宅(点击这里查看更多),below: Cien House (click HERE to view more)

 

5.

不少作品(Poli House, Rode House等)中的交通空间和卫浴厨房等功能空间被紧凑地限定在等宽的两面墙之间,为什么你们喜欢这样处理这些空间?同时请谈一谈你们对墙的看法。
In many of your projects, like Poli House and Rode House, circulations and bathrooms are placed in the slim space confined by two walls. Why do you arrange these spaces in such a way? What is the role of walls in the building and how do you treat with them?

Sofia:这是我们的建筑学发现之一,我们将其称为“可居住的墙壁”。它通常由一堵极厚的墙壁构成(严格地说是两道平行的墙),其中会容纳一些辅助性的功能空间,例如交通空间、储物室、厨房、浴室和厕所等。这些位于墙壁之间的空间旨在将其功能从结构序列中隐去。相对于客厅、卧室或餐厅这些会被长时间使用的起居空间而言,这些辅助空间通常处于边侧的位置。当然,长时间和短时间的使用也是一个相对的概念,毕竟餐厅也有可能像洗手间一样被短暂地使用。在我们设计的许多建筑中,能够被集体性地使用的空间与那些可以被尽量缩小的空间有着明确的区分。后者可以被缩减到符合人体需求的最小尺度,小到几乎可以被置入墙壁之间。

Pezo:可居住的墙壁使我们能够以一种更加抽象的逻辑来构建空间序列。通过消除建筑的居住感、隐藏具体的功能性,我们得以探索空间和空间序列的形式属性。我们乐于去考量门窗、比例、色温、结构重量和尺寸之间的协调性,以及这些特性(或某个特性)如何在不受功能空间干扰的情况下对场所体验产生影响。

▼功能空间被限制在两面墙之间,plan of Rode House, which auxiliary functions are restricted between two paralleled walls

↓ Rode住宅(点击这里查看更多)Rode House (click HERE to view more)

Sofia: This is one of our architectonic discoveries. It is what we have labeled the “inhabitable wall”. It consists of an exaggeratedly thick wall, technically composed of two parallel walls, which contains small spaces for auxiliary functions such as circulation, storage, kitchen, bath, toilet, etc. These spaces in between are meant to “hide” those functions from the structural sequences of spaces. They are lateral to the perception of spaces for living, for permanence, such as living rooms, bedrooms or dinning rooms. Of course, temporality in architecture is another relative term. A dinning room could be as temporary as a washroom. Yet, in many of our buildings we make a clear distinction between those spaces that allow for a collective experience and those that can be reduced to its minimum size, to the smallest dimension in relation to the human body, which can eventually be so tight that can be inserted into the thickness of a wall.

Pezo: The inhabited wall is an architectonic device that allows us to frame the spatial sequences within a more abstract logic. By eliminating the explicit domesticity of a house, by hiding functions, we can explore the formal attributes of the room and of the sequences of rooms. We are interested in measuring the balance of the openings, the proportions, the temperature of light, the weight of elements, the scale. And also how those qualities, how those qualities alone, without functional noise, affect our experience of the place.

▼不受功能空间干扰的场所体验,space experience without functional noise

↓ Rode住宅(点击这里查看更多)Rode House (click HERE to view more)

 

6.

如何决定开窗?
What are your strategies in fenestration?

Pezo:我们的每个项目都有不同的开窗策略。每个建筑都遵循着自身的设计准则和规范。我们没有那种能够泛用于所有案例的创作框架。通常情况下我们会使用1:1或1:2这种较为基本的比例,这使我们能够超越形式本身,从而进一步地理解墙上、地面上或者屋顶上的窗口所构建的具体关系。在我们看来,窗洞的形式没必要太具有表现力。相反,我们会使用最为古老和常见的开窗形式,而不会去发明某种新的形式。我们认为重要的是窗洞和窗洞之间形成的相互作用,以及随之产生的空间品质的变化和过渡。因此,每一个案例都会建立一种与众不同的互动,有时是重复性的间隔排布,有时则是不规律的排布。

Pezo: There are as many strategies as projects we have developed. Every building is defined by its own principles, by its own internal rules. We don’t have a compositional rule that could be applied indistinctly to all the cases. We normally work with rather basic proportions, ratio 1:1 or 1:2. This allows us to see beyond the figure itself, to be able to understand the specific relationship that the opening on a wall, the opening on a floor or the opening on a roof is promoting. In our view, there is no need for expressivity in that figure. Instead, we use the most ancient and familiar forms for openings. There is no invention there. What matters for us lies in the interaction that occurs from one side to the other of the aperture, in the transition, in the transference of one spatial quality to another. Therefore, every case establishes a unique interaction, sometimes through a repetitive interval, sometimes by means of an irregular one.

▼使用最古老常见的开窗形式,不同项目采取不同的开窗策略,various fenestration strategies in different projects, using the most ancient and familiar forms

↓ Cien住宅(点击这里查看更多),Cien House (click HERE to view more)  ©Pezo von Ellrichshausen

↓ Fosc住宅,Fosc House ©Cristobal Palma

↓ Gago住宅,Gago House ©Cristobal Palma

 

7.

目前项目以非商业化的住宅居多,如果可能,你们最想挑战什么类型的建筑?为什么?
You have done quite a lot residential projects. If possible, what type of architectural project do you want to challenge the most and why?

Sofia:我们认为住宅建筑本身就存在着巨大的挑战。住宅对我们而言是最重要的建筑形式。建筑是一个用来居住、用来好好生活的地方。因此我们坚定地认为住宅并不只是为了满足生理上的需求或起到保护的作用,更是为了增强我们在世间的存在感。我们将住宅视为一种存在主义的装置,它是一面反映人类现状的镜子。作为人类,我们有着各种各样难以量化的需求。我们拥有记忆,拥有情感,拥有梦想、恐惧和欲望。而住宅则能够成为这些需求的延伸。

Pezo:我们想要继续探索这一私密的维度。现在有一种趋势认为建筑师需要通过扩大它们所设计的建筑的大小,去不断拓展自己的实践规模,结果就是他们需要更大的工作室来处理这些尺度惊人的建筑。在多数情况下,这种“成长”只不过是一种官僚性的、以技术统治论和市场为导向的可量化的行为。我们认为建筑规模与建筑尺度完全是两个不同的概念。一座小教堂也可以宏伟而不朽,而一座大型的办公楼也可能只是平庸无奇的存在。

Sofia:不仅如此,住宅还代表着一种意识形态。正是这种私密的、亲切的、居住性的尺度构建了大众文化。设计住宅建筑可以说是对特定的功能空间进行“填充”。教堂、博物馆、剧院等专注于某种确切功能和身份的公共建筑在城市中仍是少数,大部分还是小型的私人住宅。因此我们有巨大的责任去关注住宅,或者从更大尺度上说,去关注一栋住宅楼对于城市的影响,以及它们如何提升公民价值、如何塑造城市景观。而当住宅这一终极的人工产物被建造在一处自然环境中时,当它无可避免地会对天然和原始景观造成“破坏”之时,问题将变得更加微妙。在这种情况下,我们需要对环境负起更大的责任。即便是最为谨慎和轻质的建筑,也必然会对原本已经实现完美平衡的生态系统造成巨大的干扰。

▼Pezo von Ellrichshausen的部分住宅项目,谨慎处理与环境的关系,part of Pezo von Ellrichshausen’s residential practice, being responsible to the environment

↓ Poli住宅(左)©Cristobal Palma / Arco住宅(右)©Cristobal Palma / Guna住宅(下)©Pezo von Ellrichshausen
Poli House (upper left) ©Cristobal Palma / Arco House (upper right) ©Cristobal Palma / Guna House (below) ©Pezo von Ellrichshausen

Sofia: We believe there is an enormous challenge in residential architecture. Houses are for us the most elemental form of architecture. Architecture is a place to live, to live well. So we work under the conviction that a house is not a mere functional response to a biological need, to be protected from the elements, but an instrument to intensify our being in the world. In our view, a house is an existential device, a form of mirror that reflects our human condition. As human beings, we have a wide range of unquantifiable requirements to fulfill. We have memories, emotions, dreams, fears, desires, etc. A house can be an extension of those requirements.

Pezo: We would like to keep exploring this intimate scale. There is a tendency to think that architects need to grow their practices by enlarging the size of the buildings they do and, as a consequence, to enlarge the size of the offices they need to solve those huge and hyper regulated buildings. In most of the cases, that growth is merely bureaucratic, technocratic and market oriented, just based on quantifiable terms. This is not how we understand growth or evolution. We believe architectural size is totally different from architectonic scale. One might find a tiny chapel with a monumental scale and a massive office building with a commonplace presence.

Sofia: On top of that, there is another ideological position. We believe that it is precisely that intimate scale, the space for domesticity, for the familiar, the one that admits popular culture to be constructed. Residential architecture is the so called “infill” matter in between exceptional programs. There are churches, museums, theaters, the singular public buildings which concentrate a degree of character and identity. Yet, those buildings are a minor percentage of the urban fabric. The large majority corresponds to small private dwellings. There is an enormous responsibility in the way a house, or in a larger extent an apartment building, impacts the urban realm, in how it promotes civic values or in how it shapes the landscape. The problem is even more delicate when the house, the ultimate human artifact, occupies a natural domain, when it inevitably “destroys” a wild, native, original landscape. In this case, the responsibility acquires an environment urgency. Even the most well intended, light and discreet artificial construction implies a dramatic interference with an already perfectly balanced ecosystem.

▼住宅建筑与环境相融合,满足人们的居住及情感需求,residential architecture merges into the environment, satisfying people’s needs both biological and emotional

↓ Solo住宅(点击这里查看更多),Solo House (click HERE to view more)

 

8.

请谈一谈未来的计划
Please talk about your future plan.

Sofia:我们一直开心地忙于绘画,并且正在筹备几场大尺幅作品的展览。我们同时也在广泛地参与学术活动,以支持我们探索性的研究。下个学期我们将开始在哈佛大学设计研究生院授课。在建筑实践方面,我们正在同时进行几个有趣的项目,它们分别有着不同的文化和地理背景,包括在澳大利亚首都的湿地旁边修建的游客中心、希腊小岛上的作家住宅、在巴塔哥尼亚为一对夫妇设计的住宅、为洛杉矶的一对艺术家夫妇在阿斯彭设计的住宅兼工作室,以及为我们自己设计的位于安第斯的住宅和工作室。与此同时,我们还将在最终文件签订后开始进行三个公共建筑项目,包括为一家矿业公司设计的位于圣地亚哥附近的文化中心、为比奥比奥大学设计的创新中心,以及为康塞普西翁Meissner-Prim基金会设计的灯具博物馆。

Pezo:还有最重要的是,我们正在认真地计划我们的退休生活。

▼形式研究系列展览,exhibition of format series

Sofia: We are happily busy with our paintings, preparing some exhibitions with large format series. Also very much engaged with our speculative research through our academic activity. In fact, next semester we are going to start teaching at Harvard Graduate School of Design. In the practice of architecture, we are working in several interesting projects in different cultural and geographical contexts. We are developing a visitor center next to a wetland in Australia`s capital, a house for writers on a Greek island, another one for a couple of scientists in Patagonia, a house and studio for a couple of LA artists on a ranch in Aspen and another house and studio for us in the Andes mountains. In parallel, we are following up with the final documents to start the construction of three public buildings: a Cultural Center for a mining company near Santiago, an Innovation Center for Bio-Bio University and the Lamp Museum for the Meissner-Prim Foundation in Concepcion.

Pezo: And perhaps most importantly, we are seriously planning our retirement.

▼Pezo和Sofia,Pezo and Sofia ©Ana Crovetto

More: Pezo Von Ellrichshausen,更多关于他们:Pezo Von Ellrichshausen on gooood



发表评论

5 评论

  1. 在如恩举办设计庆典的时候,有听过他们的讲座,也有和他们的合影哈

  2. Profile photo of Miles

    看上去两个人很幸福啊 而且长得很登对啊有木有 羡慕

  3. 海边那个要是摔下去责任算谁的。。。。

  4. Profile Photo

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