Hall Pavilion / Pezo Von Ellrichshausen

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Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen
  • Collaborators: Diego Perez, Thomas Sommerauer, Teresa Freire, Wiktor Gago, Shota Nemoto, Pablo Valsangiacomo, Hannah Frossard
  • Structure: Constant Structural Design
  • Construction: Set Works
  • Material: Galvanized steel
Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen

Text description provided by the architects. This is a temporary hypostyle room without a roof, with massive but almost immaterial columns barely open to the sky and to the immediate surroundings.

Paint 01. Image Courtesy of Pezo von Ellrichshausen Paint 01. Image Courtesy of Pezo von Ellrichshausen

The visual and functional continuity of the empty stone paved square, even the frontal alignment to the medieval church, is challenged by the size and disposition of a regular open grid.

Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen

By means of a vague distinction between land-art and op-art, the monotonous system of

Courtesy of Pezo von Ellrichshausen
Site
Courtesy of Pezo von Ellrichshausen
Courtesy of Pezo von Ellrichshausen
Courtesy of Pezo von Ellrichshausen
columns is activating multiple perspectives of a historically confined public space.

Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen

With two meters in diameter and six meters in height, every column is in fact an inhabitable room with a single entrance pointed to a different direction. The subtle confinement is diluted by a texture of rectangular cuts that oscillate between figure and ground.

Site Site

The silent vibration of glimmering lights and shadows, together with the very indifference of the grid, is altered by three delicate motives drawn in the air by Swiss artist Felice Varini, which can only be seen towards precise vanishing points.

Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen

These bidimensional white drawings, directly painted on the frosted-like galvanized steel plates, as floating ghosts, are free forms overlapping their complexity in the central axis of the church’s nave.

Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen

Robust yet fragile, the industrial character of the surfaces is confused by the hand made painting. Thus the distinction between structural and decorative seems to be eroded. At least as a semantic problem, every column becomes a supporting pillar and every pillar an ornamental column.

Courtesy of Pezo von Ellrichshausen Courtesy of Pezo von Ellrichshausen
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