建筑設(shè)計(jì)：尋常建筑工作室

柳條變形記：低成本工作站，欽班巴龍哥，智利

建筑設(shè)計(jì)：尋常建筑工作室

1 外景/Exterior view

“建筑是闡述時(shí)間和空間的最簡(jiǎn)單模式?！薄兴埂ひ寥f(wàn)，1985。

柳條是一種自早期文明即開(kāi)始使用的自然植物纖維材料，有記載的使用歷史已超過(guò)5000年。現(xiàn)今，這種材料通常用于籃筐、家具、燈具等手工藝制品。大部分人并不了解這種原材料的起源和加工過(guò)程。

在智利，柳條加工業(yè)曾聚集于欽班巴龍哥鎮(zhèn)，并在20世紀(jì)中葉達(dá)到頂峰。隨著農(nóng)業(yè)用地向高產(chǎn)農(nóng)作物種植轉(zhuǎn)型，生產(chǎn)工藝的忽視、創(chuàng)新材料的缺乏、市場(chǎng)交易的退化等原因共同導(dǎo)致了當(dāng)?shù)亓鴹l加工業(yè)的最終消失。在這樣的背景下，“柳條變形記”項(xiàng)目應(yīng)運(yùn)而生。

我們提議向當(dāng)?shù)厝藗魇谝环N可被柳條藝術(shù)家及工匠運(yùn)用的廉價(jià)操作模式。通過(guò)將原材料加工流程的不同階段并置于同一地點(diǎn)進(jìn)行，一種高效的制造系統(tǒng)被建立起來(lái)。各階段間運(yùn)轉(zhuǎn)的消耗減少后，生產(chǎn)加工就變得更加有效。

方案試圖將時(shí)間和空間連結(jié)起來(lái)：借助柳條的形態(tài)變化及相關(guān)過(guò)程，人們可以觀察時(shí)間的流轉(zhuǎn)；柳條又通過(guò)不同的邊界限定，來(lái)影響空間。正如抽象的時(shí)間通過(guò)工匠手中實(shí)際可察的物質(zhì)變化得到感知一般，空間在不同階段中的特質(zhì)，正是經(jīng)由各異的幾何形態(tài)而得到塑造，成為真實(shí)可感的物體?！酰愜?譯）

2 地段位置/Location

3 外景/Exterior view

"The architecture corresponds to the simplest mode of articulating time and space." Guilles Ivain 1985.

Wicker is a natural fiber that has been used since the earliest civilizations: there have been mentions of its use for more than 5,000 years. Today, it is recognized primarily by artisanal products such as baskets, furniture and lamps. However, most of the population does not know its origins and the process of producing this noble raw material.

In Chile, wicker has historically been concentrated in the town of chimbarongo, taking its production peak in the mid-twentieth century. Today, the conversion of agricultural land to more profitable crops, the ignorance of the population of the art of production, and the lack of materials innovation and absence of fair trade, etc. determines a scenario that is leading to the eventual disappearance of wicker production activity in the locality. It has prompted the firm to develop a project titled "wicker metamorphosis".

We propose to deliver to the local population an inexpensive working mode capable of transforming into a development tool for artisans and producers of wicker. An effective system of the production of the raw material is provided, which concentrates in one place the various stages associated with the process. Thus, it reduces the movements of wickers at different stages of processing, providing greater efficiency to the production.

The proposal seeks to articulate time and space, to view the passage of time through the formal changes of wicker and its associated processes that have an impact on the space through different limits. Like a clock whose hands are determined by a changing parameter, the proposal seeks through its various geometric shapes to endow various periods with different qualities.□

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architect: Domingo Arancibia

項(xiàng)目團(tuán)隊(duì)/Project Team: María José Araya, Juan Bosch, Alexis Quinteros, Stephan Puschel, Pablo Casals

農(nóng)業(yè)工程師/Agricultural Engineer: Diego Kirberg Sermini

家具/Furniture: Steven Banken

面積/Area: 79m2

攝影/Photos: Pablo Casals Aguirre

4 卸貨進(jìn)程，10月/October, debarking process

5 晾曬進(jìn)程，11月/November, drying process

評(píng)論

饒小軍：在建筑師看來(lái)，建筑是一種生命的循環(huán)過(guò)程，通過(guò)對(duì)“柳條的生產(chǎn)加工”的觀察、體驗(yàn)和建造，他營(yíng)造了一個(gè)隨時(shí)間而變化的空間體驗(yàn)過(guò)程：在一片平坦開(kāi)闊的田野景觀里，以柳條圍合出一個(gè)方圓組合的場(chǎng)地，人們?cè)诖巳找股a(chǎn)勞作，環(huán)境隨季節(jié)而變化，空間隨時(shí)間而改變，影響著人對(duì)于大自然的感知和體驗(yàn)。因此，我們可以把該作品看成是建筑師對(duì)于人與自然的哲學(xué)思考和藝術(shù)想像，看成是對(duì)建筑本體意義的終極表達(dá)。

6 隨時(shí)間變化的不同空間方案/Scheme, different spaces over time

佘依爽：時(shí)間的生長(zhǎng)

智利與中國(guó)一樣，擁有漫長(zhǎng)的農(nóng)業(yè)傳統(tǒng)，每個(gè)智利人對(duì)于柳條的應(yīng)用都有自己的記憶與感情。一個(gè)小小的形式蘊(yùn)含了對(duì)農(nóng)業(yè)傳統(tǒng)的回應(yīng)、空間的隔離以及時(shí)間的感觸，新穎地啟發(fā)了常見(jiàn)材料的現(xiàn)代轉(zhuǎn)譯，巧妙而賦有深意。

Comments

RAO Xiaojun: In the architect's view, architecture is a kind of life cycle; through observation, experience and construction of "wicker production and processing", he created a spatial experience that can change over time: in a landscape of flat, open field, wicker surrounds the site in combined forms of square and circle, where people work day and night. Environment varies with the seasons while space changes over time, casting influence on man's perception and experience of nature. Therefore, we may regard the work as the architect's artistic imagination and philosophical reflection on man and nature, as well as an ultimate expression of the ontological meaning of architecture.

SHE Yishuang: The Growth of Time

Chile, just as China, has a long history of agriculture, and Chileans have their own memories and emotions for the use of wicker. A small form reflects the response to the traditional agriculture, spatial isolation and the perception of time, and creatively represents a modern interpretation to the common material, looking ingenious and meaningful.

Wicker Metamorphosis : Low Cost Workstation, Chimbarongo, Chile, 2013

Architects: normal architecture studio

7 平面/Main plan

8 全年計(jì)時(shí)平面/Annual clock plan

9 全年陰影圖示/Annual shadows

10 收集與搬運(yùn)進(jìn)程，2月/February, collection and removal process

11 加工制作進(jìn)程，1月/January, manufacturing process