Pezo Von Ellrichshausen在芝加哥建筑双年展上展示729幅水彩的研究结果
Pezo Von Ellrichshausen frames 729 watercolor studies at Chicago Architecture Biennial

由专筑网黎旭辰，李韧编译

在今年的芝加哥建筑双年展上，Pezo Von Ellrichshausen将再次探索其一直感兴趣的建筑水彩。 由Mauricio Pezo和Sofia Von Ellrichshausen领导创立的智利工作室强调艺术和建筑的融合，他们在墙上展示出729个用框架裱框起来的水彩画，这些水彩画形成了一个巨大的网格，呈现出一种数学上的关系。连续排列的水彩画展示了艺术家眼中的建筑世界。

Designboom与Mauricio Pezo和Sofia Von Ellrichshausen谈论了他们这两年的工作、对主题的构思，以及他们对艺术、建筑以及两者之间的融合的解释。

At the Chicago Architecture Biennial, Pezo Von Ellrichshausen explores its ongoing interest in multiples. The Chile-based studio, led and founded by Mauricio Pezo and Sofia Von Ellrichshausen, underscores their embracement of art and architecture projects by organizing a monumental grid of 729 framed watercolor studies on the wall, demonstrating an almost mathematical obsession. The illustrated explorations depict the serial sequencing of an imagined building form that is half tower and half plinth.
Designboom spoke with Mauricio Pezo and Sofia Von Ellrichshausen about their contribution to the biennial, their response to the theme, and their amalgamation of art, architecture, and everything in between.


该装置通过作品排布出数学关系／The installation explores Pezo Von Ellrichshausen’s ongoing interest in multiples. image © designboom (main image by tom harris)

这幅画表达了悠久的现代主义传统，在芝加哥建筑双年展上，Pezo Von Ellrichshausen利用81种不同的颜色随机组合，从而实现了一系列的水彩作品，这些颜色似乎是以一种任意顺序排列而成，‘但实际上这其中有一套既定的系统规则。’Von Ellrichshausen告诉Designboom记者。 例如说“Finite Format 04”的重复性表明了“序列艺术”的构思，这是20世纪70年代的创意运动，它在单调的序列中诠释了一个想法或概念。

Drawing from the long modernist tradition of architects that paint, Pezo Von Ellrichshausen has realized a series of watercolor studies for the Chicago Architecture Biennial in a seemingly random combination of 81 different colors. What appears to be an arbitrary arrangement of images is in fact ‘the systematic erosion of an ideal object, of an imaginary building, based on a prescribed set of rules,’ Sofia Von Ellrichshausen tells Designboom. The repetitive nature of ‘finite format 04’ suggests an influence from ‘serial art’ — a creative movement from the 1970s, which exhausted an idea or concept in a monotonous display.


位于智利的工作室由Mauricio Pezo和Sofia Von领导创立／The Chile-based studio is led and founded by Mauricio Pezo and Sofia Von Ellrichshausen. image © designboom

Designboom （DB）：你能谈谈你今年芝加哥建筑双年展上所展示的作品吗？

Sofia Von Ellrichshausen（SVE）：这是一个3.5米高、20米长的多彩画，由729张手工绘制的水彩画组成，看似随机的色彩被整齐的布置。大多数人会认为这似乎是一个轻微变化的任意数组，实际上它是基于规定的一套系统，是对虚构建筑最初对象的系统变形。 因此我们称之为“Finite Format”，这是该系列的第四次更迭。

Designboom (DB): Can you talk a bit about what you are presenting for this year’s Chicago Architecture Biennial?
Sofia Von Ellrichshausen (SVE): It is a 3.5m height by 20m long polyptych composed by 729 individual paintings, of watercolors on paper, organized on a seemingly random chromatic and formal arrangement. What appears to be an arbitrary array of minor variations is in fact the systematic erosion of an ideal object, of an imaginary building, based on a prescribed set of rules. This is the fourth iteration of an ongoing series we have entitled ‘finite format’.


“Finite Format 04”强调了工作室对艺术和建筑的理解／‘Finite format 04’ underscores the studio’s embracement of art and architecture projects. image by tom harris

SVE（继续说）：对于“手工制作”在建筑形式上的可能性的判断，这些是相对较为个人化的设计构思。通过有限的元素和维度，我们正在研究如何去比较以及理解一个建筑物的特性、规则和辨识度的重要性。我们对以格式替换形式的做法十分感兴趣，由于它是一个大纲，或者说是一个由大小和方向定义的行为领域，所以我们认为一个格式能够包含建筑物的基本空间属性。

SVE (continued): It is a rather personal enquiry about the possibilities of a sort of ‘hand made’ formal determination in architecture. Through a limited number of factors and dimensions we are studying how proportion is crucial for the understanding of character, disposition and identity of an architectonic piece. This comes from our interest in replacing the very notion of form by format. Since it is a general outline, or a field of action defined by size and direction, we believe a format contains fundamental spatial attributes of a building.


在墙上整齐布置了一个由729个水彩画拼接而成的巨幅作品／A monumental grid of 729 framed watercolor studies is organized on the wall. image © designboom

DB：你如何构思“创造新纪元”的主题思想？

Mauricio Pezo（MP）：我们从来没有提到超出建筑本身的任何东西，而且是以某种方式假设一个重复的动作，我们正在经历的历史其实是广泛的知识来源。在我们的假设方法中，我们猜测从历史开始的那一刻就有一个潜在的想法。当然，假设历史是一本构建的小说，那我们就顺应历史概念的需求，毕竟这是我们所感兴趣的内容。

DB: How did you respond to the overall theme of ‘make new history’?
Mauricio Pezo (MP): Since we never refer to anything beyond the building itself, and somehow assuming a tautological exercise, we are reading history as a wide source of knowledge. In our hypothetical approach, we are speculating with a potential idea of beginning, of the very moment in which history begins. Of course, we are reading the call in conceptual terms, assuming history as a constructed fiction. We are indeed interested in basic and familiar forms.


研究结果表达出数学规律／The studies demonstrate an almost mathematical obsession. image © designboom

MP（继续说）：事实上，在那些以类型学的起点为基础的建筑结构并不那么重要，重要的是某种特征的表达方式。换句话说，这种概念并不存在于实体中，而是存在于建筑原型中、在模型中、在建筑的原始想法中。历史能够指明正确的结构，而且随着系统的转变而改变，就像在同一个家庭里发生的基因突变，也可类比为数字的不同变幻方式。

MP (continued): In fact, not so much in those architectonic structures that are the starting point of a typology but in those that concentrate the most characteristic features of a certain kind. In other words, not in a prototype but in the archetype, in the model, the original idea for a building. The history is right there, at the beginning of a formal structure but also in the systematic transference, as in the hereditary metamorphosis within the same family, from one figure to the next one.


连续排序的每个图示都在探索一个理想中的建筑物／Each of the illustrated explorations depict the serial sequencing of an imagined building. image © designboom

DB：在你的工作上，你和双年展的艺术总监Sharon Johnston和马克•李（Mark Lee）合作有多紧密？

SVE：我很早以前就知道莎伦了。我们在本次正式的邀请之前其实已经有过多年的交流。 他很了解我们近期在艺术与建筑方面的工作内容，因此向我们发送了邀约。虽然这是一项从未展示过的新工作，但是他们还是非常敏锐地将这些绘画作品集合在一个能够充分展示的背景下。从抽象的角度来看，他们坚持建筑与艺术之间的相关等价性，同时也可能是建筑与结构之间的相互关系。

DB: In developing your contribution, how closely did you work with the biennial’s artistic directors Sharon Johnston and mark lee?
SVE: We have known Sharon and mark for a long time now. I guess we have been exchanging ideas for many years, even before this official invitation. When they invited us, they already knew our recent work, both in art and architecture. Although this is a new work, never exhibited before, they were extremely sensitive in giving this collection of paintings an adequate context. In abstract terms, they insisted in the relevant equivalence, or perhaps reciprocity, between building and representation, between an architectonic idea and its construction.


建筑形式是半塔和半底座／The architectural form is is half tower and half plinth. image © designboom

DB：你喜欢这些为双年展设计的临时作品吗？是否尺度更加小的项目会更具亲切感？

SVE：我们很享受自己在做的一切。无论如何，在我们看来，建筑尺度与其大小无关。这是一个常见的误解， 大建筑物不一定要大尺度处理，反之亦然。 事实上，亲切感是一个相对的概念，在一个大体量建筑中，你同样能感受到具有亲切感的宜人尺度。

DB: Do you enjoy creating temporary works for biennials etc., which have a potentially smaller and more intimate scale?
SVE: As much as we enjoy everything we accept to do. Anyway, in our view, the scale of architecture has nothing to do with its size. This is a common misunderstanding; big buildings are not necessarily tackling the big scale, and vice versa. In fact, intimacy is a quality you might find in a massive, monumental structure.


这项研究来源于建筑师悠久的现代主义传统理论／The studies draw from the long modernist tradition of architects who paint. image © designboom

DB：你认为公众参与建筑对话是否重要？

MP：不全是，人们需要知道建筑物的影响，或者说是建筑对街道、角落、邻里或整个城市的影响。但是这些并不是建筑师的意图。所谓的公众，只是生活和享受这些建筑作品的普通大众，是建筑师每个构思理念的直接感受者。甚至连这些决定也不是建筑师单方面的想法，只是当下必须做出的思考抉择。

DB: Do you think it is important for the general public to be involved in the architectural discourse?
MP: Not really. They need to be informed if the effects of buildings, or their impact on a street, a corner, a neighborhood or the city at large. Not so much about their authors intentions. The so called general public, or lay people, just live and enjoy or suffer the consequences of the architect’s decision. And not even those decisions alone but every one of the circumstances that he or she had to face to take those decisions.


作品由81种不同颜色的看似随意的组合构成／The drawings are configured in a seemingly random combination of 81 different colors. image © designboom

MP（继续说）：建筑语言对于我们的学科进化来说至关重要。是人们对当前作品的原始认知，这是对同行之间的一种评估，后来变成只是由历史学家解释的事实。我想，目前的建筑语言让人们、市场甚至政治处于一阵混乱之中。建筑的社会作用已经融入到无论是个人以及集体的深层层面。建筑自身的意图并没有那么重要，但我相信良好的作品无需过多的阐述。

MP (continued): Architectural discourses are fundamental for our disciplinary evolution, if evolution is what one is pursuing. They operate in a meta understanding of the current production, a sort of evaluation among peers, and later on as mere facts to be interpreted by historians. I suppose, the current architectural discourses are confusing popularity, market and politics. The social role of architecture is embedded in its function, both for individuals and collective dimensions. There seems to be a feeble line between the business of architecture and the good intentions to promote those businesses. I believe good architecture does not need to be explained.


看似任意的图像排列实际上是“理想作品的系统化”／What appears to be an arbitrary arrangement of images is in fact ‘the systematic erosion of an ideal object’. image © designboom

DB：这次的双年展探索艺术和建筑两者之间的关系。你可以描述你的工作是如何涵盖这不同的两种创意流派的吗？

SVE：从一开始我们就一直在创造艺术和建筑的结合作品。我们从来没有非常刻意的标签。它们两者在习以为常的表达方式上有些类似，但在实践中却并非如此。所以我们一直在尝试喷绘、绘画、摄影、模型、小构筑物、建筑等各种策略，目的是寻找具有艺术气息的建筑作品。

DB: The biennial explores art, architecture, and everything in between. Can you describe how your work covers different creative genres?
SVE: Since our very beginning we have been producing both art and architecture. We have never paid so much attention to the disciplinary labels. They are useful in institutional terms but not in operative terms. we have been always doing paintings, drawings, photographs, models, pavilions, houses, etc. in many ways, we have been exploring up to what point we can find artistic qualities in a work of architecture and architectonic ones in a work of art.


建筑形式基于一套既定的准则／The building forms are based on a prescribed set of rules. image © designboom


“Finite Format 04”的重复性表明了“序列艺术”的影响／The repetitive nature of ‘finite format 04’ suggests an influence from ‘serial art’. image © designboom


该项目将在芝加哥建筑双年展期间展示／The project is presented during the second edition of the Chicago Architecture Biennial. image by tom harris



芝加哥建筑双年展（CAB）的第二次展是北美最大的建筑和设计展览，展示了艺术创作领域近些年的各项变革。今年的双年展，艺术总监Jacques Johnson和马克•李（Mark lee）选择了来自二十多个国家的二百一十多位建筑师和艺术家们致力创作的2017新主题“创造新纪元”，他们的这些作品将邀请大众探索最新的建筑风格，并将在世界各地创造新的历史。

CAB由历史悠久的芝加哥文化中心的芝加哥文化事务部门和特别活动部门主办。 “创造新纪元”展览不仅有室内展馆，还有室外展场，并且，本次的展览在当地社区和两个特定的项目场所设置有6个展览区域，甚至还有由超过100个全球合作伙伴共同协办的活动，其中有装置艺术展、文化表演、研讨会以及电影。

2017年9月16日至2018年1月7日，主要展览将免费向公众开放。

The second edition of the Chicago Architecture Biennial (CAB) is the largest architecture and design exhibition in north America, showcasing the transformative global impact of creativity and innovation in these fields. This year’s biennial features over 141 practitioners from more than 20 countries addressing the 2017 theme ‘make new history.’ Artistic directors Sharon Johnston and mark lee have selected architects and artists whose eye-opening creations will invite the public to explore how the latest architecture can and will make new history in places around the world.
CAB is hosted by the Chicago department of cultural affairs and special events at the historic Chicago cultural center. the ‘make new history’ exhibition extends to off-site locations and is amplified through six community anchor exhibitions in the neighborhoods and two special project sites — plus installations, performances, talks, films, and more hosted by over 100 local and global cultural partners.
The main exhibition is free and open to the public from September 16, 2017 through January 7, 2018.


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