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VARA PAVILION XV VENICE ARCHITECTURE BIENNALE 2016
VARA PAVILION XV VENICE ARCHITECTURE BIENNALE 2016
Riva dei Sette Martiri, Venezia, Italy
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VARA PAVILION XV VENICE ARCHITECTURE BIENNALE 2016
Riva dei Sette Martiri, Venezia, Italy
STATUS
Built
YEAR
2016
SIZE
3000 sqft - 5000 sqft
Photos
Client: XV Venice Architecture Biennale (Curator: Alejandro Aravena)
Architects: Pezo von Ellrichshausen (Mauricio Pezo & Sofia von Ellrichshausen)
Collaborators: Susan Conger-Austin, Diego Perez, Anton Zu Knyphausen, Iven Peh, Daniel Andersson, Teresa Correia, Sarah Biffa, Thomas Patrix
Production: Solo Galerie, Paris (Christian Bourdais & Eva Albarran)
Support: Build Beyond by Knauf, Fundacion Chile Profundo, Fundacion Cosmos and Chilean Government (Consejo Nacional de la Cultura y las Artes)
Construction: Impresa Edile Fabris Danilo, Padova
Materials: Steel structure, cement panels, painted plaster.
Building surface: 324 m2
Project date: 2015
Construction date: 2016
Photography: © Pezo von Ellrichshausen
This is a series of exteriors within other exteriors. A labyrinth construction that explores that understated tension between practical necessities and the subjective measurements of an architectonic space. The pavilion`s floorplan is composed by the informal and seemingly capricious repetition of ten different circular figures, with consecutive diameters ranging from two to eleven. The unit for each radio is based on a “vara”; the fairly imprecise and now obsolete rod employed to trace cities during the colonial migration to America.
The resulting sequence of spaces can be understood both as a traditional open plan, with several accesses and without any shape, hierarchy or predominant direction, and also as a limited arrangement of singular segments. The perception of these utterly centralized forms fluctuates between narrow and acute concavities and wide but irregular convex rooms, from overexposed cores to dark corners. This is the experience of a hollowed mass eroded by its own tedious echo, by its multiplicity, by a sense of austere irrationality.
Since we believe architecture is a form of knowledge, it seems inevitable to face a triangular (or circular) problem: that what we know is no more than a diffuse field of disciplinary ideas; that those ideas are expanding over time; and that our limited understanding of them, and therefore of their value, cannot be fully conveyed to dilettantes. A feasible response, we suppose, lies in the potential of discreet basic means to produce a rather normal and familiar building; a unique place with the unintelligible capacity to become something more than what it seems to be.
Architects: Pezo von Ellrichshausen (Mauricio Pezo & Sofia von Ellrichshausen)
Collaborators: Susan Conger-Austin, Diego Perez, Anton Zu Knyphausen, Iven Peh, Daniel Andersson, Teresa Correia, Sarah Biffa, Thomas Patrix
Production: Solo Galerie, Paris (Christian Bourdais & Eva Albarran)
Support: Build Beyond by Knauf, Fundacion Chile Profundo, Fundacion Cosmos and Chilean Government (Consejo Nacional de la Cultura y las Artes)
Construction: Impresa Edile Fabris Danilo, Padova
Materials: Steel structure, cement panels, painted plaster.
Building surface: 324 m2
Project date: 2015
Construction date: 2016
Photography: © Pezo von Ellrichshausen
This is a series of exteriors within other exteriors. A labyrinth construction that explores that understated tension between practical necessities and the subjective measurements of an architectonic space. The pavilion`s floorplan is composed by the informal and seemingly capricious repetition of ten different circular figures, with consecutive diameters ranging from two to eleven. The unit for each radio is based on a “vara”; the fairly imprecise and now obsolete rod employed to trace cities during the colonial migration to America.
The resulting sequence of spaces can be understood both as a traditional open plan, with several accesses and without any shape, hierarchy or predominant direction, and also as a limited arrangement of singular segments. The perception of these utterly centralized forms fluctuates between narrow and acute concavities and wide but irregular convex rooms, from overexposed cores to dark corners. This is the experience of a hollowed mass eroded by its own tedious echo, by its multiplicity, by a sense of austere irrationality.
Since we believe architecture is a form of knowledge, it seems inevitable to face a triangular (or circular) problem: that what we know is no more than a diffuse field of disciplinary ideas; that those ideas are expanding over time; and that our limited understanding of them, and therefore of their value, cannot be fully conveyed to dilettantes. A feasible response, we suppose, lies in the potential of discreet basic means to produce a rather normal and familiar building; a unique place with the unintelligible capacity to become something more than what it seems to be.
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