Pezo Von Ellrichshausen - Finite Format / Finite Format
The Gallery of Contemporary Art and Architecture of the House of Art in České Budějovice has prepared an exhibition of the Chilean studio Pezo von Ellrichshausen for this autumn.
Lecture by the architects: Wednesday, October 21, 2015, at 4:00 PM, Student Church of the Holy Family, Karel IV. Street 22, České Budějovice
Opening: October 21, 2015, at 6:00 PM
Date: October 22 - November 19, 2015
Curator: Michal Škoda
It is a great honor for us to present through this exhibition one of the most respected contemporary architectural studios, Pezo von Ellrichshausen from Chile. They are architects who have created remarkable cohesive work over more than a decade. With a clear handwriting that does not succumb to fashion trends, and with great care to ensure that their buildings become bearers of enduring values. Their work gained greater awareness, not only among the professional public, in 2005 with the Poli House on the rocky Pacific coast, five hundred kilometers from Santiago de Chile. This remarkable house can be considered a certain reference of their work – a sense of materiality, form and light, a comfortable space created by a limited palette of materials, particularly exposed concrete and wood.
The architectural studio Pezo von Ellrichshausen was founded in 2002 in Concepción, Chile, by Mauricio Pezo / 1973 in Angol, Chile / and Sofia von Ellrichshausen / 1976 in Bariloche, Argentina /. They gained recognition on the international scene mainly with a series of their houses not only in Chile but also, for example, in Portugal and Spain.
Sofia and Pezo view architecture as a fusion of art and science, as one of the expressive artistic means. Significant overlap into the visual arts is demonstrated by numerous land-art works and ephemeral pavilions – among others - the “120 Doors Pavilion” from 2003 in Concepción, participation in the Venice Architecture Biennale – National Pavilion of Chile 2010, Project “Nor more, no less” at LIGA Gallery – Mexico 2011, “Mine Pavilion” in Colorado 2013, Crux Pavilion – Triennale of Architecture in Lisbon 2013, or the very successful work “Blue” at the Sensing Spaces exhibition at the Royal Academy of Arts London 2014. In addition, they also engage in curation and educational activities, whether at universities in Chile or as visiting professors at the University of Texas in Austin / 2011-2014 /, Cornell University New York, etc.
The work of PvE is characterized by ambiguity, which they present in the form of a simple architectural artifact, often expressing brutalism. They use limited tools for creation – plans, sections, and axonometrics, and a very important aspect of their work is time. A phenomenon that is disappearing in today’s increasingly fast-paced age, which naturally impacts the realm of construction. However, Pezo and Sofie pride themselves on doing the exact opposite – thoughtfulness, meticulousness, and unhurriedness. This can also be seen as one of the cornerstones of their success.
A characteristic of the work of Pezo von Ellrichshausen is a clear handwriting based on simple geometry and not subject to any fashion design trends or specific modern technologies. There is a noticeable emphasis on the proportions of spaces, layout, as well as an emphasis on timelessness, where natural traces of time are also considered. Acknowledgment of a certain imperfection, with details defined by roughness and construction methods. They consider this mentioned absence of design to be an important moment, as good architecture does not represent appearance, but should convey the best possible experience of space… The compositions of their house designs offer a certain comparison to Adolf Loos’ “Raumplan,” utilizing vertical shifts. The irregular distribution of windows on the façade, stemming from the internal system of layout, reveals another of the typical features of their work – the use of various levels of rooms. They view their projects as conceptual problems for a specific context – in other words – to do the same thing, but never in the same way.
Kersten Geers notes about their work that: “Their work can be seen as an exercise in typology. Given their focus on typology, the architecture of the PvE atelier appears very simple or even oversimplified. However, simple things are always internally complex. A system of simple repetitions and modulations of the architectural language, systematically inserted in its most tangible and tectonic incarnation: Building – architecture (here) means building typologies”.
The exhibition prepared for České Budějovice consists of two parts. The Final Format and the Infinite Motif. These are works affirming the auxiliary method of PvE – to understand not only the artistic qualities in the architectural work but also the architectural attributes of the work of art.
Final Format 002 and 003 (2014-2015) – two sets, each composed of a series of 243 paintings. These series are the result of precise studies of proportions and formal character. The works are presented in a linear sequence that simultaneously erodes and strengthens the individuality of each basic figure. A logical system that can be read as an evident contradiction, as the same set of mechanical rules distorts a simple structure, indifferent to its specific landscape or portrait orientation.
Infinite Motif (2015) – a series of drawings on paper and one reduced model / created in collaboration with students of the Faculty of Architecture and Art of the Technical University of Liberec – as part of a workshop that took place in Budějovice before the exhibition began /. Here, it is an open exploration of the capacity of architectural intentions to be diluted through the repetition of a single figure over a wide range of sizes. The inner consistency of the resulting complex system, in its relatively random nature outside of contexts, programs, or constructions, becomes an exploration of the very concept of a self-regulated plan.
The exhibition is held with the support of the Ministry of Culture of the Czech Republic and the Embassy of the Republic of Chile and in cooperation with the Faculty of Architecture and Art of the Technical University of Liberec.
The event is financed under the project Building Institutional Capacity and International Partnerships for Basic Research in Architecture and Urbanism No. LE14012, which is implemented under the Program of International Cooperation in Research and Development EUPRO II funded from the state budget of the Czech Republic.” The project was supported by the funds of the Ministry of Foreign Affairs of Chile within the cultural programs DIRAC 2015.
More information >
Lecture by the architects: Wednesday, October 21, 2015, at 4:00 PM, Student Church of the Holy Family, Karel IV. Street 22, České Budějovice
Opening: October 21, 2015, at 6:00 PM
Date: October 22 - November 19, 2015
Curator: Michal Škoda
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It is a great honor for us to present through this exhibition one of the most respected contemporary architectural studios, Pezo von Ellrichshausen from Chile. They are architects who have created remarkable cohesive work over more than a decade. With a clear handwriting that does not succumb to fashion trends, and with great care to ensure that their buildings become bearers of enduring values. Their work gained greater awareness, not only among the professional public, in 2005 with the Poli House on the rocky Pacific coast, five hundred kilometers from Santiago de Chile. This remarkable house can be considered a certain reference of their work – a sense of materiality, form and light, a comfortable space created by a limited palette of materials, particularly exposed concrete and wood.
The architectural studio Pezo von Ellrichshausen was founded in 2002 in Concepción, Chile, by Mauricio Pezo / 1973 in Angol, Chile / and Sofia von Ellrichshausen / 1976 in Bariloche, Argentina /. They gained recognition on the international scene mainly with a series of their houses not only in Chile but also, for example, in Portugal and Spain.
Sofia and Pezo view architecture as a fusion of art and science, as one of the expressive artistic means. Significant overlap into the visual arts is demonstrated by numerous land-art works and ephemeral pavilions – among others - the “120 Doors Pavilion” from 2003 in Concepción, participation in the Venice Architecture Biennale – National Pavilion of Chile 2010, Project “Nor more, no less” at LIGA Gallery – Mexico 2011, “Mine Pavilion” in Colorado 2013, Crux Pavilion – Triennale of Architecture in Lisbon 2013, or the very successful work “Blue” at the Sensing Spaces exhibition at the Royal Academy of Arts London 2014. In addition, they also engage in curation and educational activities, whether at universities in Chile or as visiting professors at the University of Texas in Austin / 2011-2014 /, Cornell University New York, etc.
The work of PvE is characterized by ambiguity, which they present in the form of a simple architectural artifact, often expressing brutalism. They use limited tools for creation – plans, sections, and axonometrics, and a very important aspect of their work is time. A phenomenon that is disappearing in today’s increasingly fast-paced age, which naturally impacts the realm of construction. However, Pezo and Sofie pride themselves on doing the exact opposite – thoughtfulness, meticulousness, and unhurriedness. This can also be seen as one of the cornerstones of their success.
A characteristic of the work of Pezo von Ellrichshausen is a clear handwriting based on simple geometry and not subject to any fashion design trends or specific modern technologies. There is a noticeable emphasis on the proportions of spaces, layout, as well as an emphasis on timelessness, where natural traces of time are also considered. Acknowledgment of a certain imperfection, with details defined by roughness and construction methods. They consider this mentioned absence of design to be an important moment, as good architecture does not represent appearance, but should convey the best possible experience of space… The compositions of their house designs offer a certain comparison to Adolf Loos’ “Raumplan,” utilizing vertical shifts. The irregular distribution of windows on the façade, stemming from the internal system of layout, reveals another of the typical features of their work – the use of various levels of rooms. They view their projects as conceptual problems for a specific context – in other words – to do the same thing, but never in the same way.
Kersten Geers notes about their work that: “Their work can be seen as an exercise in typology. Given their focus on typology, the architecture of the PvE atelier appears very simple or even oversimplified. However, simple things are always internally complex. A system of simple repetitions and modulations of the architectural language, systematically inserted in its most tangible and tectonic incarnation: Building – architecture (here) means building typologies”.
The exhibition prepared for České Budějovice consists of two parts. The Final Format and the Infinite Motif. These are works affirming the auxiliary method of PvE – to understand not only the artistic qualities in the architectural work but also the architectural attributes of the work of art.
Final Format 002 and 003 (2014-2015) – two sets, each composed of a series of 243 paintings. These series are the result of precise studies of proportions and formal character. The works are presented in a linear sequence that simultaneously erodes and strengthens the individuality of each basic figure. A logical system that can be read as an evident contradiction, as the same set of mechanical rules distorts a simple structure, indifferent to its specific landscape or portrait orientation.
Infinite Motif (2015) – a series of drawings on paper and one reduced model / created in collaboration with students of the Faculty of Architecture and Art of the Technical University of Liberec – as part of a workshop that took place in Budějovice before the exhibition began /. Here, it is an open exploration of the capacity of architectural intentions to be diluted through the repetition of a single figure over a wide range of sizes. The inner consistency of the resulting complex system, in its relatively random nature outside of contexts, programs, or constructions, becomes an exploration of the very concept of a self-regulated plan.
The exhibition is held with the support of the Ministry of Culture of the Czech Republic and the Embassy of the Republic of Chile and in cooperation with the Faculty of Architecture and Art of the Technical University of Liberec.
The event is financed under the project Building Institutional Capacity and International Partnerships for Basic Research in Architecture and Urbanism No. LE14012, which is implemented under the Program of International Cooperation in Research and Development EUPRO II funded from the state budget of the Czech Republic.” The project was supported by the funds of the Ministry of Foreign Affairs of Chile within the cultural programs DIRAC 2015.
More information >
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