Pezo von Ellrichshausen

CME's our house our office on our workshop so it combines three functions and it's located in a in a small site on the periphery of the city it overlooks the city and all the way to the open ocean it occupies a site that is narrow and therefore instead of occupying it completely it uses all the height that is available as well and therefore combines two formats one is the horizontal format in relation to the ground and the other one is a vertical format that has the distant views but not necessarily a horizontal movement the interior organization is based on the repetition of a single module which is a square fear divided by V across so we repeat it 12 times the same fear six times in - in the in the podium one six times in the tower and just by combining that strict and rigid on almost absurd and arbitrary fear within the plan we generated a lot of specific situations it has two different circulations almost pivot on its spiraling staircase and the center of the staircase such as in installation in the Royal Academy is a record of the movement up and down people's hands just polishing this wood it's a luxury that we love to do to think of of all the aspects that that go into using that space and that of course involves the furniture and the way you open a window and the texture of the materials of that window so when we're allowed we we try to do as much as we can when you are interested in in this window and looking out in seeing the tree in having people walk to a staircase you need to at some point give it a shape or material and so for example what we do is square windows we try to draw attention away from the design aspect of it but we're inevitably linked to some kind of of shape for that window of course we go for the square many times because it's the most neutral and it's trying to pull away from the design the parts are neutral to make systems there are non neutral or very specific forces but for a situation and in that sense I think that neutrality can be directly linked to the notion of normality how you experience places with a certain sense of familiarity or something that is so known or normally in itself that you don't pay attention to it because it's it's there it's like you feel comfortable because it's it you feel that it has been there forever when you have a surrounding that is composed by neutral elements that are very simple very silent it allows the individual to look beyond them and and to focus on other in the case of an installation in the Royal Academy we are providing of this structure that allows for people to be aware of other people to be aware of a place many of them because it are very normal but in this situation they're going to completely change their perception of it and the presence of others is going to be also enhanced by the Rome movement through space so of course there will be a consequence of proximity and of self-awareness and of a different understanding of a familiar environment inevitably architecture commissions you're answering to someone or external demands and in the case of art which is so fantastic about it that the demands are yours are internal it's much more free and we did Poli we had to face very fundamental problems of architecture and in the same way as ancient times so we knew that we had to do something strong enough to be autonomous and as a world in itself but subtle enough to to live nature as it was without any interference halfway between natural and artificial the idea is that it has two wards circling it that contain all the fixed functions such as kitchen and bathroom and staircases and balconies and storage areas so that everything can be hidden or stored into this perimeter and free the internal space so that it can have a different dimension depending on the activities it can sometimes be very domestic or it can also be somewhat neutral and a bit more monumental the construction of policies who are doing it with local with fishermen and farmers we know from the very beginning that imperfection will be part of the result and instead of going against it or fighting it we have incorporated it into our plan or interest rata G of construction and therefore we knew that the rough concrete is not an effect but it was an inevitable consequence it was going to be like this and therefore we assumed it as it is we use the same words that were used for the formwork then in the interior to protect and isolate a little bit the walls but it's basically a rough structure with some white paint on it by being here in what we call the new world the end of the world I think it's a fantastic position to think about novelty or originality in the very original meaning like doing something from the beginning inventing something not trying to follow anything that is done even if we're doing something so normal so basic the normal windows normal doors and normal let's say geometries I think we can still be thinking in primitive terms to produce something that is an invention something that starts from zero from from scratch without references you

Channel: Royal Academy of Arts

Views: 19,614

Rating: 4.9425836 out of 5

Keywords: Architect (Occupation), Architecture (Professional Field)

Id: 1f3qbVANj4c

Length: 8min 5sec (485 seconds)

Published: Wed Jan 22 2014