感谢 Pezo Von Ellrichshausen 对gooood的分享。更多关于他们：Pezo Von Ellrichshausen on gooood。
Appreciation towards Pezo Von Ellrichshausen for providing the following description:

随着附近的树木在从容老去，这件无尺度的作品将显得更加渺小。被压在一片科伊韦树（Nothofagus dombeyi）组成的深色森林角落里，这个凝缩且无方向性的占地获得了一种轴线感，呈现明确的非对称：一侧很高，也许补全了一个想象中的立方体，而与之相对的另一侧则完全没有高度。这种正面性使墙成为一件祭坛画般的存在——一个无声的平面，由两道扶壁予以强化，它们支撑着一根看似无用的梁；而一条刻着文字的过梁（“NI MAS NI MENOS”，西班牙语的“no more no less”，即“不多不少”）又与它的沉默相互矛盾。

▼手绘，sketch © Pezo von Ellrichshausen

As the nearby trees age, in no hurry, this scaless piece will become even smaller. Cornered against a dark forest of Coihues (Nothofagus dombeyi), the concentrated and directionless footprint acquires an axial sense, explicitly asymmetrical, with one high side, perhaps completing an imaginary cube, and with its opposite side with no elevation at all. Such frontality makes the wall an altarpiece, a mute plane reinforced by two buttresses that support an apparently useless beam and by an engraved lintel (NI MAS NI MENOS, or “no more no less” in Spanish) that contradicts its muteness.

▼项目外观，external view of the project © Pezo von Ellrichshausen

▼立面，facade © Pezo von Ellrichshausen

跨过这道不透明的门槛，因一只被夸张放大的圆形天窗切断了树叶的视线，墙与天花之间已不再有任何区分。尽管在室内，那些有意图的、具有引力方向性的向量（或如齐美尔所说，“精神的意志与自然的必然”）在一条公正的对角线上被消解，但在外部它们却十分明显；地形既是人工的，也无甚意义，因为抵达顶端并不会让景观改变多少。

▼插画，illustrations © Pezo von Ellrichshausen

Beyond this opaque threshold, with the foliage cut off by an exaggerated circular oculus, there is no longer any distinction between wall and ceiling. Although inside the intentional and gravitational vectors (or “the will of the spirit and the necessity of nature”, as Simmel would say) are diluted in a fair diagonal, on the outside they are rather evident; the topography is both artificial and meaningless, since reaching the top does not change the panorama much.

▼圆形天窗，circular oculus © Pezo von Ellrichshausen

▼入口，entrance © Pezo von Ellrichshausen

这个由手工混凝土制成、带有迷惑性的方块，无论从哪个角度观察都显得相对而变：远处看是一座低调的纪念碑；从森林看是被打断的台基；从室内倾斜而不安的位置看，则是几道细腻的白线，模糊了模板的痕迹。由于其几乎无厚度的平面性，这堵墙变得不可逆转：外部是容纳六只蜂王的庙宇式框景；内部则是一座典型木屋的纯粹描绘。

This deceptive block of artisanal concrete is relative whatever way you look at it; from afar a discreet monument, from the forest an interrupted plinth, from the oblique discomfort of the room some delicate white lines that blur the imprint of the formwork. In its flatness almost without thickness, the wall becomes irreversible; on the outside the engaged frame of a temple for six queens and on the inside the sheer drawing of an archetypal wooden cabin.

▼在雪中，In the snow © Pezo von Ellrichshausen

▼在阳光下，In the sunlight © Pezo von Ellrichshausen

幸运的是，这个杂糅的装置并非主要供人观看，而是为了在其中工作——一项朴素的有机蜂蜜生产在此进行，因此有了“蜂王”的存在。

Fortunately, this cluttered device is not so much to look at but to work in it; a modest organic production of honey is processed here, hence the queens.

▼模型，model © Pezo von Ellrichshausen

▼剖面，sections © Pezo von Ellrichshausen

Project: Miel pavilion
Location: Santa Lucia Alto, Yungay, Chile
Client: Fundacion Artificial
Architect: Pezo von Ellrichshausen (Mauricio Pezo & Sofia von Ellrichshausen)
Collaborators: Magdalena Loesche, Giacomo Biotti, Tianhao Mei, Pietro Rosatelli
Structure: Sergio Contreras
Construction: Constructora Natural
Material: Reinforced concrete
Surface: 36 m2
Date: 2024-2025
Photography: © Pezo von Ellrichshausen

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Pezo Von Ellrichshausen

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