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这是一个没有屋顶的柱阵空间，由高大却几乎没有实质体量的立柱构成，并半敞开于天空和周围环境。设计方案的挑战性在于，立柱上开口网格的尺寸和排列规则需要与石材铺设的空旷广场形成视觉和功能上的统一，同时要与中世纪教堂的正立面对齐。

▼柱阵广场鸟瞰效果，the overall effect of the hall pavilion

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. 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.

▼前期草图展示，the expected effect of the hall pavilion

设计师通过一种介于大地艺术和欧普艺术的模糊手法，将16根立柱组合成为一个重复排列的系统，从而激发人们以多重视角看待历史性公共空间。这些直径2米、高6米的立柱实际上是可以走入的空间，并且各自拥有一个不同方向的入口。长方形的镂空纹理摆动于立柱和地面之间，消除了体量带来的封闭感。

By means of a vague distinction between land-art and op-art, the monotonous system of sixteen columns is activating multiple perspectives of a historically confined public space. 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.

▼不同视角展示着这些柱阵上的不同图案，the visitors could enjoy the different pictures from different perspective

瑞士艺术家Felice Varini 在空中所绘制的三个精妙的动态图像，打破了沉寂的光影以及冷漠的网格，但只有当人们望向消失点的时候才能够看到整个画面。这些直接绘制于磨砂镀锌钢板上的二维白色图像，如飘荡的幽灵一般，以自由的姿态重叠在教堂的中央轴线。

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. 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.

▼这些柱阵使广场形成更强的空间感，同时自身的装饰特色使其与周边环境产生更好的互动，the columns make stronger sense of space and interact with surrounding

▼每一根柱子都是可以进入的，every column is accessible from the door with different orientation

手绘的图案模糊了立柱表面粗糙却又脆弱的工业特质，从而弱化了结构性和装饰性之间的差异。至少从语义上看，每根立柱在成为支撑结构的同时，也发挥着装饰品的作用。

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.

▼廊柱广场夜景，the night view of the hall pavilion

▼模型展示，the model of the hall pavilion

▼场地平面图，site plan

▼柱子细节处理，the detail of the column

Project: Hall pavilion
Location: Trinity Square, Hull, UK
Client: Royal Institute of British Architects, 2017 City of Culture
Author: Pezo von Ellrichshausen (Mauricio Pezo & Sofia 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
Surface: 650 m2
Date: 2017
Photography: © Pezo von Ellrichshausen

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Pezo Von Ellrichshausen

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