120 Doors by Pezo Von Ellrichshausen (2003)

Following the previous post on the isometric environments created by Franka Hörnschemeyer, here we propose a relatively old installation by Chilean office Pezo Von Ellrichshausen Architects, featuring a similar concept.

The 120 Doors Pavilion, installed in Ecuador Park, in the city of Conception, Chile, is a structure of tubular steel tubes supporting wooden standard doors. The doors are arranged in 5 continuous and consecutive perimeters; the outer one with four sides of ten doors each and, inwards, sides of eight, six, four and two doors.

From the authors’ description of the work:

These five perimeters operate as fences that confine a progressive sequence of interiority and depth of the space. Seen from the outside the exterior perimeter is a compact horizontal block. In the interior space is closed laterally and opens to the sky and the ground. This configuration establishes a series of paths along narrow spaces, verti-cal in section, that dissolve into a cubic central space confined within the smallest perimeter.

With this, what we were really looking for was a way to evidence how relative and artificial the distinctions of limits within a work of architecture are and, hence, within one of art. We are interested in exploring the points of transmission, or friction, between one place and another.
We think of the doors as a turning point that sub-verts temporally the definition of space, adding a dynamic dimension to the construction of walls in a work of architecture, something that could be seen as a key that regulates the fluctuation of forces.

After a brief installation in a public park, the doors were donated to public housing and the structure was the only thing that remained in the place, apparently indestructible due to its naked-ness or, as Breuer said about his chairs, because its volume occupies no space.