一个展馆的历史
7年来，每年一次，智利圣地亚哥都会庆祝一个前所未有的地方的建设。这些地方来了又走。一车车的泥土、一捆捆的柳条、一株株活生生的玉米进入和离开Parque Araucano公园…… 没有人知道到底在孵化什么，但可以肯定的是，公园将再一次以新的东西给游客带来惊喜。
The History of a Pavilion
For 7 years, once a year, the construction of an unprecedented place has been celebrated in Santiago de Chile. These places come and they go. Truckloads of dirt, bundles of wicker, live corn plants enter and leave the park Parque Araucano… Nobody knows exactly what is hatching but it is certain that once again the park will surprise the visitors with something new.
这些亭子是一种庆典。庆祝夏天，庆祝公园，庆祝城市生活，庆祝国家和建筑的所谓繁荣。这是一个夏天的梦想。但是，那些曾经填补了这一空白的美丽想法都去哪儿了？我们面对的是一个积累的建筑。这些图像相互重叠。在这种情况下，图像更强大；它们经久不衰，但建筑本身是不灭的。我们认识到这是一个核心的学科问题。考虑到这一点，我们把展馆定义为一个独立于其最终形象的物体。
The pavilions are a kind of festivity. A celebration of summer, the park, life in the city, the supposed prosperity of the country and of architecture. It is a summer dream. But where do all those beautiful ideas that once filled that void go? We are faced with an architecture of accumulation. The images overlap each other. In this scenario, the images are stronger; they endure, but architecture as such is imperishable. We recognize that this is a core disciplinary problem. With this in mind, we worked with the definition of the pavilion as an object autonomous of its final image.
可拆解的条件
Y.A.P. Constructo提供的机会是一个投入时间、工作和资源的例子，我们相信它应该在委托本身之外产生成果。我们对这一举措的寿命表示关注。
Dismantlable Condition
The opportunity granted by the Y.A.P. Constructo is an instance in which time, work and resources are invested that we believe should bear fruit beyond the commission itself. We are concerned about the lifespan of this initiative.
结构的可拆卸性和耐用性允许扩大这一倡议的范围。它想征服新的和偏远的地方，提供一个相遇和聚会的空间。这样一来，新的机构在委员会、其制造时间、它第一次所在的地方和它的作者方面拥有自主权；它是一个自治机构。
The dismantlable and durable condition of the structure allows to extend the scope of this initiative. It wants to conquer new and remote places to provide a space for encounter and gathering. In this way, the new body has autonomy regarding the commission, its manufacturing time, the place where it is located for the first time and its authors; It is an autonomous body.
好奇心
它试图在一个已经巩固的公园里用一系列的活动来评价这个地方，并用一个单一的、脆弱的、轻盈的和半透明的物体来补充。一个稳定和抵抗的身体，仍然是一个外来的人工制品，一个好奇心。
Curiosities
It seeks to value the place with a series of events in an already consolidated park and to complement it with a singular, fragile, light and translucent object. A stable and resistant body, still being an alien artefact, a curiosity.
Buckminster Fuller的研究和艺术家Gego的塑料探索产生了液体物体；一个基于小块的空气团，构成了一个整体，并提醒我们这些结构的潜力，由于它们的密度和元素的细长性，被重新解释为产生一个令人难以置信的空间性。应用这些60年代的原则的方法是基于一系列的障碍物，一套规则，使我们能够将理论模型适应当地的技术和制造。佩雷斯-皮涅罗的可部署的结构是一个邀请，在眨眼之间实现组装。另一方面，60年代和70年代的充气结构的练习表明，空的空间–或空气–的配置是建筑的中心主题之一。最后，肯尼思-斯奈尔森的研究表明，虽然属于工程领域，但也是艺术，为什么不也是建筑的组成部分和作品的发展。
Buckminster Fuller’s research and the artist Gego’s plastic explorations generate liquid objects; an air mass based on small pieces that make up a whole and remind us of the potentiality of these structures that are reinterpreted to generate an incredible spatiality due to their density and slenderness of elements. The methodology of applying these principles from the ’60s is based on a series of obstructions, a set of rules that allowed us to adapt a theoretical model to local technology and manufacturing. The deployable structures by Pérez Piñeiro are an invitation to achieve assemblies in the blink of an eye. On the other hand, the exercises of inflatable structures of the 60s and 70s show that the configuration of empty space – or air – is one of the central themes of architecture. And finally, Kenneth Snelson’s research shows the development of components and pieces that, although belonging to the world of engineering, are also art, and why not architecture as well.
轻度和张力
穹顶结构由漂浮在空中的细长元素组成的悬空配置。它有一个刻在长方形中的椭圆型平面图。它是一个长36米、宽16米、总高度为6米的非物质化拱顶。围墙的中心是自由的，支架位于周边。路人惊讶地抬起头来；试图弄清楚像这样的系统是如何工作的，其中没有任何东西接触，所有东西都漂浮着。
Lightness and Tension
The domed structure is configured by a suspended void of slender elements that float in the air. It has an ellipse-shaped floorplan inscribed in a rectangle. It is a dematerialized vault 36 meters long, 16 meters wide with a total height of 6 meters. The centre of the enclosure is freed and the supports are located in the perimeter. The passerby looks up and in surprise; trying to figure out how a system like this works, in which nothing touches and everything floats.
张力穹顶系统是一个渐进的结构，向上环减轻，直到这些孤立的部分的重量降到最低。它的形状是由重复的规则系统赋予的，这些规则给压缩元素–管道–和拉伸元素–电缆的结构以刚性和一致性。该系统由5层组成，每层有1至3.6米长的管子。这些管子支持框架的压缩负荷，并通过3至6毫米厚的电缆在垂直位置上保持张力。
这两个元素都存在于每个管子的上端和下端的终端节点中，为每种类型的杆件而设计。构成框架的所有元素都是市场上可获得的工业材料，除了每根杆的终端节点和到达地面的管子的钢底座（用钉子简单支撑）。
The tensioned dome system is a progressive structure that is lightened towards the upper ring until the weight of these isolated parts is reduced to the minimum. Its shape is given by the repetition of a system of rules that give rigidity and coherence to the structure of compressed elements – pipes – and tensioned elements – cables. The system is made up of 5 layers, each one with tubes from 1 to 3.6 m long. These tubes support the compression loads of the framework and are held in a vertical position thanks to 3 to 6 mm thick cables that operate under tension.
Both elements are found in a terminal node at the upper and lower end of each of the tubes, designed for each type of bar. All the elements that make up the frame are industrial materials available on the market, with the exception of the terminal node of each bar and the steel bases of the tubes that reach the ground (simple support with pegs).
公园里的休息室
这个地方是Parque Araucano。它有时是一个广场，有时是一个真正的城市公园，有回收、停车、商场、挤满建筑物的天际线。面对这种活动的多样性，该提案在公园的运作中插入了一个新的内部空间；一个休息室。这个地方与外部世界密切相关，因为它利用了夏天和它的好处；白天是一个逃避阳光的地方，晚上是一个照明的穹顶。
A Lounge in the Park
The place is Parque Araucano. At times it is a square, at times a true urban park with recycling, parking, a mall, a skyline crowded with buildings. Faced with this diversity of activities, the proposal inserts a new interior space in the operation of the park; a lounge. This place is closely related to the outside world since it takes advantage of the summer and its benefits; being an escape from the sun during the day and an illuminated dome during the night.
一个多功能的内部，一个空旷的空间，”内容就是容器”。500平方米的空间可以容纳无穷无尽的情况；一个花时间和聚集的地方，用于音乐活动、研讨会、派对和讲习班。这里没有前台和后台，没有 “后台 “或等级制度。它是一个单一的空间，观众和演员居住在同一个地方。平面图是轴向对称的，是一个没有划分的单一空间，包含两个标志着入口的特定开口。
原型、预制和组装
这项研究是基于不同比例的原型的经验性测试进行的。1:50、1:25、1:10、1:5、1:2和最后的1:1的比例模型，采用多种材料，允许测试不同的主题，加深了调查。(a)结构能力和组装顺序，(b)空间性，(c)组成展馆的元素数量、尺寸、材料等，(d)包围空隙的网状物或表面的颜色、不透明度、弹性和外观方面的质量，以及最后(e)穹顶的内容、家具或展览。
A versatile interior, an empty space, “where the content is the container”. 500 m2 to accommodate endless situations; a place for spending time and to gather, for musical events, seminars, parties and workshops. There is no front and back, there is no “backstage” or hierarchies. It is a single space in which spectators and actors inhabit the same place. The floorplan is axially symmetrical, a single space without divisions that contains two specific openings that mark the entrances.
Prototypes, Prefabrication and Assembly
The research was conducted based on empirical tests with prototypes of different scales. Scale models of 1:50, 1:25, 1:10, 1: 5, 1: 2 and finally 1: 1-, in multiple materials that allowed testing different themes that deepened the investigation: (a) the structural capacity and the sequence assembly, (b) spatiality, (c) the number of elements that made up the pavilion, their dimensions, materiality, etc., (d) the quality of the mesh or surface that encloses the void with respect to its colour, opacity, elasticity and appearance, and finally (e) the content of the vault, its furniture or exhibitions.
施工过程从预制构成整体的部件开始，以便随后进行组装。在寻找材料时，除了具有所需的抗压能力外，还考虑到了在转移过程中的可拆装性和耐用性。对于直径为2到3英寸的管子来说，铝是一种很好的材料，因为它可以由一个操作员来操作。钢被选为电缆（3至6毫米）和张紧器的材料，允许精度和结构阻力；为现场的调整和装配时间留下最小的余地。连接两个元件的端部是由杜拉拉铝制成的，这使得每个接头都有一个特殊的车削件，有足够的结构能力来抵抗结构需求。所有的部件都由一辆简单的卡车运走，一个接一个地按系统化的顺序在地上组装，但也不乏意外。
The construction process began with the prefabrication of the parts that make up the whole for their subsequent assembly. The search for the materials was guided by an ability to be dismountable and durability during transfers, in addition to having the required resistance capacity. Aluminium turned out to be a great material for the tubes of 2 to 3 ”in diameter because it allowed being handled by a single operator. Steel was chosen both for the cables (3 to 6mm) and tensioners, allowing precision and structural resistance; leaving the process on the site with a minimum margin for adjustment and assembly times. The end pieces that join both elements are made of duralumin, which allowed a particular turned piece for each joint with sufficient structural capacity to resist structural demands. All the pieces were moved by a simple truck and one by one they were assembled on the ground in a systematized sequence but not devoid of surprises.
衣服
我们感到兴奋的是，结构在其 “裸体 “状态下–没有程序和位置–根据补充它的衣服获得了这些特征–晚会、非正式、夏季或冬季。阴影、光线、水和家具使结构具有多功能性，并允许想象新的和不同的组装场景。
The Dress
We are excited that the structure in its “naked” state – devoid of program and location – acquires these characteristics based on the dress that complements it – gala, informal, summer or winter. Shade, light, water and furniture give versatility to the structure and allow to imagine new and varied assembly scenarios.
在这个场合，它是由一个半透明的网状物组成的，覆盖着它的身体，并在正面视图中消失，而当向前缩短时，它获得了一个更密集的外观；突出了内部和外部空间之间的模糊性。它被格子的浅色阴影、风和水以凉风的形式刷新了。一系列位于主体高度的水蒸发器被间歇性地激活，在白天调节这个地方，作为一个避开夏季强热的庇护所。
On this occasion, it is made up of a translucent mesh that covers its body and disappears in the frontal view, while when foreshortened it acquires a more dense appearance; accentuating the ambiguity between the interior and exterior space. It is refreshed by the light shade of the lattice, the wind and the water in the form of a cool breeze. A series of water vaporizers at the height of the body is activated intermittently, tempering the place during the day as a shelter from the strong summer heat.
原木，作为有点异国情调的家具，粗糙、庞大，作为自然景观的废墟，与包含它们的人工、光和流动的风景形成对比。原木，既是活的，又是死的，是结构所不具备的一切重量。
The logs, as somewhat exotic furniture, rough, large and as ruins of a natural landscape work in contrast to the artificial, light and itinerant scenery that contains them. The logs, living and dead at the same time, weigh everything that the structure does not.
下午晚些时候，在光线的映衬下，人们可以看到框架对着天空。这是荣耀的时刻，一个活动即将来临，亭子为聚会打扮起来。黑暗侵袭，当一条光线穿过一些固定管子的张力器时，它们漂浮在黑暗中，庆祝一个新事件的开始。反过来，由于沐浴在光线中的网眼，内部被清楚地画了出来。同时，人们可以在照明的框架之间看到公园的天际线。活动结束后，这个结构变得难以察觉。
Late in the afternoon against the light, one can see the frame against the sky. It is the moment of glory, an event is approaching and the pavilion dresses up for the party. Darkness invades as a line of light runs through some tensioners that hold the tubes, they float in the dark and celebrate the start of a new event. In turn, the interior is clearly drawn thanks to the mesh that bathes in light. Simultaneously, one can see the park’s skyline between the illuminated frame. The event ends, and the structure becomes imperceptible.
集体体验
该项目是一个实验性和建设性的练习，基于一个系统的作品生产过程和随后的组装，这说明了一个人工和人类的顺序。该项目有一个由四名建筑师负责的团队，一名日本工程师通过邮件–和一次令人难忘的访问–，三名负责视听记录，一名照明师，一名在传统建筑系统方面有经验的专业人士，以及24名有疑惑、技能、兴趣和机智的学生。这种兴趣，我们从这个十字军东征的一开始就有，对这个项目至关重要，它是真实的，而且严格集中。
Collective Experience
The project is an experimental and constructive exercise, made based on a systematic process of production of pieces and their subsequent assembly, which account for an artificial and human sequence. The project had a team of four architects in charge, one Japanese engineer by mail -and a memorable visit-, three in charge of the audiovisual record, one illuminator, one professional with experience in traditional construction systems and 24 students with their doubts, skills, interest and wit. This interest, which we had from the beginning of this crusade was crucial for the project, it was genuine and strictly focused.
因此，阿劳卡诺公园成为一个户外研究工作室，在温暖的夏夜里，30个角色成为一个团体，这不止一次成为庆祝的理由。
Thus, Parque Araucano became an outdoor research workshop, and the 30 characters became a group during the warm summer nights that were more than once a reason for celebration.
Architects: Clarita Reutter Susaeta, Claudio Torres Salazar, Emile Straub, Yuji Harada
Area: 575 m²
Year: 2017
Construction Team:Héctor Rivera, Viola Guarano, Mauricio Yañez, Maira Vega, Miguel Uribe, Fabián Acuña, Simón Herrera, Nicolás Schmidt, Constanza Dalleto, Malvina Ruelas, Francisco Beltran, Francisca Vargas, Josias Aliaga, Pablo Peñaloza, Matías Guajardo, Andrea Yataco, Julia Bustamante, Natasha Urretaviscaya, Pablo Castro, Catalina Berrios, Rodrigo Vega, Carlos Parra, Galit Hojman, Martin Rojas y Nicolas Navarrete
Audiovisual Team:Nicolás Morales, Esteban Arteaga y Daniel Rodríguez.
Lighting:Mauricio Lacrampette.
Calculation Engineer:Jun Sato Laboratory, University of Tokyo / Jun Sato Structural Engineers Co., Ltda. (Jun Sato, Shohei Furuichi, Midori Tsuzuki).
Client:Y.A.P. _ Constructo.
Constructed Surface:575 m2 totales
Interior Surface:298 m2 totales
Constructed Volume:2065 m3
Construction Time:15 días de prefabricación – 15 días de montaje
Budget:1,6 UF/ m2 – 66 US$/ m2
City:Las Condes
Country:Chile