为它提出了一个圆柱形的木制房间，能够像一个 “楔子 “一样装入潜在的文化空间，使用一个没有明确方向的物体，超越一个用作入口的空洞。
A cylindrical wooden room is proposed for it, capable of fitting like a “wedge” in potential cultural spaces, using an object without a clear direction, beyond a hollow used as an entrance.
该馆的自主性的唯一目的是在另一个房间内建造一个房间，一方面是为了纪念过去的 “奇珍异宝柜”，另一方面是为了研究可能的进展机制，考虑将文化基础设施纳入一个房间的装修。
The autonomy of the pavilion has, as its sole purpose, building one room within another, on one hand, in remembrance to the former than in the past housed a “Cabinet of Curiosities”, while, on the other, with the goal of looking into the possible mechanisms of progression considering the fitting out of cultural infrastructure on incorporating a single room.
圆柱体是由一个系统的重复的单一柱子建成的，它形成了一个可渗透和半透明的屏幕，使其游客成为那里展出的东西的一部分，在背景和数字关系中。
The cylinder is built by a systematic repetition of a single column that forms a permeable and semi-transparent screen, making its visitors part of what is exhibited there, in the background and figure relationship.
同样，由于它的自主性，这个物体可以被理解为那里所展示的东西的延伸，也就是说，它只是被展示的另一件作品，尽管那里没有其他东西。
Likewise, due to its autonomy, this object can be understood as an extension of what is shown there, i.e. as just another piece being exhibited, even though there is nothing else there.
放置 “碎片室 “的第一个舞台，是对 “Catalejo “的回顾，这是Azócar Catrón的一篇文章，其中一条路线穿过城市历史中心周围的五座山，每座山都有一个亭子，总共有五个。
The first staging that housed “Fragment Room”, was a retrospective to “Catalejo”, an essay of Azócar Catrón, where a route is set out through the five hills around the historic hub of the city, and a pavilion for each one of them, five in total.
展览考虑了五个整体刨光的木质模型，像静物画一样摆在基座上。一个通常用于建筑的网状物被安装在圆柱体的内侧，上面捕捉到了拟议的路线，从而将五座山丘统一在一个轮廓中。
The exhibition considered five monolithic planed wooden models, laid out on plinths like a still life painting. A mesh, normally used in construction, was mounted on the inner face of the cylinder, on which the proposed route is captured, thus unifying the five hills in a single profile.
展览的两个部分都试图在人的尺度上，将康塞普西翁市的自然遗产的无形形象，目的是使这些潜在的公共空间可见。
Both parts of the exhibition tried to put, on a human scale, an invisible image of the natural heritage of the city of Concepción, with the goal of making these potential public spaces visible.
在城市的不同地方徘徊之后，《碎片室》现在在奇廉市的方济各会修道院。亭子的加入导致了一个废弃的文化空间的恢复，在过去的日子里，它曾是教堂博物馆。在此基础上，又增加了其他三个元素：亭子，有几根横梁，旨在容纳一个小房间的空间；照明，以便它可以独立于其他地方工作；由白板制成的墙；以及，窗帘。
After wandering around different places in the city, Fragments Room is now in the Franciscan Monastery in the city of Chillán. The inclusion of the pavilion led to the recovery of an abandoned cultural space, which in days gone by, had been the Church Museum. With this, three other elements were added; the pavilion, with a couple of beams that aim at containing the space of a small room; lighting so that it could work independently from the rest of the place; a wall made from whiteboards; and, a curtain.
归根结底，”碎片室 “是另一个房间里的一个房间，是一个向公众开放的新文化空间的推动者，或者至少是一个古董。
Ultimately, Fragments Room is one room inside another, a promoter of a new cultural space that is open to the public, or at least, is a curio.
Architects: Azócar Catrón Arquitectos
Area: 194 ft²
Year: 2019
Photographs: Patricio Zeiss
Manufacturers: AutoDesk, Arauco, Trimble Navigation
Lead Architects: Ricardo Azócar, Carolina Catrón
Collaborators:Unidad de Patrimonio. Municipalidad de Chillán.
City:Chillan
Country:Chile