發(fā)現(xiàn)音樂

發(fā)現(xiàn)音樂

Finding the Music

在圣保羅的貧民窟，年輕人感到前景黯淡，居民們幾乎沒有一點(diǎn)公共空間。市政當(dāng)局抓住機(jī)會(huì)，在一片空工地上建了一所大型音樂學(xué)校。貧民窟里的貝多芬？事實(shí)證明，這種組合已經(jīng)在無數(shù)其他地方取得空前成功。

“怪物”是一個(gè)經(jīng)常被誤用的名詞，但用它來形容雜亂無序拓展的圣保羅卻是再合適不過了。在巴西最大的都市圈，大約生活著2000萬人，使圣保羅成為南半球人口最多的城市。在短短50年內(nèi)，該市的人口已翻了兩番。大部分持續(xù)涌入大都市的人都必須找個(gè)地方搭建自己的安身之所。其結(jié)果是，該市目前大約已有600個(gè)棚屋區(qū)，即所謂的貧民窟——基礎(chǔ)設(shè)施遠(yuǎn)遠(yuǎn)不夠的違建定居點(diǎn)。蔓延之勢(shì)繼續(xù)有增無減，很快，距市中心25km的半徑范圍內(nèi)就沒有一片綠地了。鑒于圣保羅面臨的大量環(huán)境問題，這種境況尤其棘手：這個(gè)城市是拉美最大的工業(yè)都市，而且直到現(xiàn)在，還沒有對(duì)生態(tài)問題予以足夠重視。兩條主要的河流，鐵特河和皮涅羅斯河已經(jīng)毫無生機(jī)，空氣污染水平高得驚人——這個(gè)城市所在的盆地空氣對(duì)流極少，土壤封蓋也加劇了雨水徑流，造成洪災(zāi)頻發(fā)。

天堂里的泥石流

帕賴索波利斯是全市600個(gè)貧民窟中的一個(gè)。這個(gè)名字來源于葡萄牙語單詞“paraíso”，意思是“天堂”。這真是一個(gè)極具諷刺意味的名字，因?yàn)檫@個(gè)位于該市南部的貧民窟根本與天堂毫不沾邊。50年前，這個(gè)地區(qū)主要發(fā)展農(nóng)業(yè)。由于到處都是陡坡和大大小小的水道，建造街道非常困難，所以幾乎連一條街也沒有。又由于附近莫倫比地區(qū)的開發(fā)，大量建筑工人在帕賴索波利斯落戶。如今，這個(gè)貧民窟大約有17,000戶、6萬～8萬個(gè)居民。帕賴索波利斯的人口密度與曼哈頓接近，而大部分建筑卻只有2～3層。與此同時(shí)，這個(gè)居住點(diǎn)已經(jīng)成了一個(gè)龐雜的房屋之海。雖然貧民窟內(nèi)很多區(qū)域的建筑工地被評(píng)為高風(fēng)險(xiǎn)區(qū)，可是幾乎每平方米可用地面上都在建房。例如，在被居民稱為“石窟”（Grot?o）的區(qū)域，新來者竟然把房屋建在陡峭的斜坡上。2008年，這種風(fēng)險(xiǎn)已經(jīng)顯而易見：暴雨造成泥石流，所有建筑都被裹挾到山下。當(dāng)局很清楚，如果再不采取對(duì)策，剛剛空出來的地方很快就會(huì)重新蓋滿房子。換言之，必須為“石窟”制定出新方案。伊麗莎貝塔·弗蘭卡有一個(gè)建議：圣保羅人居秘書——SEHAB希望在“石窟”建一所音樂學(xué)校。

加拉加斯的奇跡

2 透視/Perspective

在貧民窟建音樂學(xué)?！獮樽畈魂P(guān)注古典音樂的人帶去巴赫和貝多芬？外人一開始可能會(huì)覺得這個(gè)想法荒誕。但是，眾所周知，在拉丁美洲古典音樂在貧民窟有著巨大的潛力。這種發(fā)展可以追溯到委內(nèi)瑞拉音樂家、經(jīng)濟(jì)學(xué)家和社會(huì)政治家何塞·安東尼奧·阿布雷烏。大約40年前，他就在尋找?guī)椭永铀关毭窨邇?nèi)的社會(huì)弱勢(shì)兒童和青少年遠(yuǎn)離暴力和毒品的方法。他制定的愿景可以概括為：要樂器，不要武器。音樂課可以教育男孩女孩們，并提供心理和社會(huì)穩(wěn)定。委內(nèi)瑞拉國(guó)立青少年管弦樂團(tuán)自1975年在一個(gè)地下停車庫開始，目前已發(fā)展成為加拉加斯的奇跡。阿布雷烏的非傳統(tǒng)理念已經(jīng)成為一個(gè)全球性運(yùn)動(dòng)的范本，現(xiàn)在包括400個(gè)管弦樂團(tuán)、342個(gè)合唱團(tuán)、230所音樂學(xué)校和4000名音樂教師。雖然始于委內(nèi)瑞拉（當(dāng)時(shí)在該國(guó)，委內(nèi)瑞拉國(guó)立青少年管弦樂團(tuán)現(xiàn)在直接由前總統(tǒng)查韋斯負(fù)責(zé)），它現(xiàn)在組織的計(jì)劃已遍及美洲，從加拿大到阿根廷。來自棚戶區(qū)的管弦樂團(tuán)成為出口熱門：他們出現(xiàn)在世界各地的無數(shù)節(jié)日中，并與許多歐美專業(yè)樂團(tuán)合作。勞迪奧·阿巴多、祖賓·梅塔和西蒙·拉特爾等指揮家支持該項(xiàng)目。阿布雷烏以前的學(xué)生和門生古斯塔沃·杜達(dá)梅爾已成為這個(gè)運(yùn)動(dòng)的象征。如今，這位在自己的祖國(guó)完成該計(jì)劃的委內(nèi)瑞拉人，已成為洛杉磯愛樂樂團(tuán)的首席指揮。

把想法交給專家

目前受教于委內(nèi)瑞拉國(guó)立青少年管弦樂團(tuán)的兒童和年輕人大約有35萬名。參與人數(shù)與日俱增，創(chuàng)始人阿布雷烏希望到2015年會(huì)增加到100萬。青少年管弦樂團(tuán)為音樂學(xué)校提供了樂器，并且每周6天為兩歲以上的兒童免費(fèi)授課，以便讓他們待在安全的音樂學(xué)校里，遠(yuǎn)離暴力。此外，這些音樂教師還與市政當(dāng)局合作，為學(xué)生提供衣服和食品。鑒于石窟區(qū)目前缺乏文化活動(dòng)，而且，委內(nèi)瑞拉國(guó)立青少年管弦樂團(tuán)的成功已得到證明，利用石窟區(qū)居民點(diǎn)實(shí)施社會(huì)音樂中心（Centro de Ac?ao Social por la Música, CASM）的計(jì)劃似乎順理成章。但是，圣保羅城市管理局的發(fā)起人深知，在貧民窟中央建立音樂學(xué)校絕非易事。他們向跨學(xué)科的設(shè)計(jì)公司城市智庫 (U-TT) 尋求幫助，該公司扎根于加拉加斯，由聯(lián)合創(chuàng)始人和聯(lián)合負(fù)責(zé)人阿爾弗雷多·布林伯格和休伯特·克倫普納領(lǐng)導(dǎo)。城市智庫致力于各種與當(dāng)代建筑和城市化有關(guān)的課題的高級(jí)研究和設(shè)計(jì)，專門從事世界各地非正規(guī)居民點(diǎn)社區(qū)項(xiàng)目，并使社區(qū)受益。

背包徒步而非全包度假旅行

阿爾弗雷多·布林伯格于1961年出生在紐約，休伯特·克倫普納于1965年出生在奧地利的薩爾茨堡。二人都在紐約哥倫比亞大學(xué)攻讀建筑學(xué)，他們?cè)谧x研究生時(shí)相識(shí)，并開始合作。布林伯格和克倫普納一起在哥倫比亞大學(xué)開辦可持續(xù)城市生活示

The Paraisópolis favela in S?o Paulo offers few prospects for young people – and little public space for all inhabitants. The city authorities grasped the opportunity to build a large music school on an empty site. Beethoven in the favela? This combination has already proved extremely successful in countless other places.

"Monster" is an often misused term, but appropriate for sprawling S?o Paulo. Some 20 million people live in Brazil's largest metropolitan region, making S?o Paulo the most populous city in the southern hemisphere. Its population has quintupled in just 50 years. Most of the people that continue to stream into the conurbation must erect their own shelter somewhere. As a result, the city now has about 600 slums, so-called favelas – illegally built settlements with totally inadequate infrastructure. Expansion goes on unabated, and very soon there will be no green space left within a radius of 25 kilometers from the city center. Tis is particularly problematic in the light of the massive environmental issues facing S?o Paulo: the city is the largest industrial megalopolis in Latin America, and up to now ecological concerns have not been taken seriously. The two main rivers, Rio Tietê and Rio Pinheiros, are biologically dead; airpollution levels are alarmingly high – the city lies in a basin with far too little air exchange – and soil sealing exacerbates rainwater run-off, resulting in frequent heavy flooding.

Mudslides in paradise

Paraisópolis is one of the city's 600 slums. The name comes from the Portuguese word paraíso, meaning paradise. An ironic name, for this favela in the south of the city is anything but a paradise. Fifty years ago the area was largely agricultural. There are hardly any streets because the topography with its many steep slopes and smaller and larger watercourses makes it difficult to build them. Owing to the development of the Morumbi district nearby, a significant number of construction workers have settled in Paraisópolis. Today, the favela has between 60,000 and 80,000 inhabitants living in 17,000 households. The population density is similar to that of Manhattan, although most buildings in Paraisópolis are only two or three storeys. In the meantime, the settlement has become a gigantic sea of houses. Every available square meter appears to be built on, although building sites in many zones of the favela are rated as high risk zones. For example, in the area that the residents call Grot?o, grotto. Here new arrivals built houses on a steep slope. In 2008 it became obvious just how risky that was: heavy rains caused a mudslide that carried all the buildings down the hill. The authorities knew that if they did not take countermeasures the now empty space would be covered with new buildings in no time at all. In other范實(shí)驗(yàn)室（貧民窟實(shí)驗(yàn)室），并自2010年在聯(lián)合擔(dān)任瑞士蘇黎世聯(lián)邦理工學(xué)院的建筑和城市設(shè)計(jì)主席。是什么讓這兩位對(duì)貧民窟倍加關(guān)注，并且?guī)缀鯙橹冻鋈柯殬I(yè)生涯？“如果你像我一樣，出身于非常結(jié)構(gòu)化的社會(huì)，當(dāng)你第一次在非正規(guī)城市居住區(qū)工作的時(shí)候，你會(huì)經(jīng)歷某種文化沖擊”， 休伯特·克倫普納說。“但是，我覺得這樣的工作簡(jiǎn)直太引人入勝了。就像是在一次心血來潮的背包旅行和預(yù)定一次全包海灘度假旅行之間進(jìn)行選擇——很明顯，它提供更多的冒險(xiǎn)刺激！”除此之外，非正規(guī)城市居住區(qū)為創(chuàng)建變革提供了最佳機(jī)會(huì)：“全世界最需要采取行動(dòng)的是南部的城市貧民窟改造——也是最有潛力的，因?yàn)槭苓@些問題困擾的國(guó)家正在經(jīng)歷政治巨變，走向真正的民主?！?/p>

3 平面/Plan

4 景觀和建筑系統(tǒng)/Landscape and building systems

5 景觀/Landscape

向貧民窟學(xué)習(xí)

這兩位專家認(rèn)為，城市非正規(guī)居住區(qū)可持續(xù)性建設(shè)的意義與中央商務(wù)區(qū)有很大不同?！俺鞘蟹钦?guī)居住區(qū)產(chǎn)生垃圾之少、建筑密度之大已經(jīng)與我們千辛萬苦努力在發(fā)達(dá)地區(qū)實(shí)現(xiàn)的目標(biāo)相當(dāng)，” 阿爾弗雷多·布林伯格說。他和休伯特·克倫普納相信，城市非正規(guī)居住區(qū)可以作為正規(guī)居住區(qū)的榜樣。阿爾弗雷多·布林伯格說：“如果我們成功地保留貧民窟的好的方面，同時(shí)提供其生活質(zhì)量，我們就會(huì)實(shí)現(xiàn)一種讓人們都希望生活在這些地區(qū)的狀態(tài)?！边@將是一個(gè)模式轉(zhuǎn)變；到現(xiàn)在為止，其宗旨一直是讓非正規(guī)區(qū)域適應(yīng)整個(gè)城市。然而克倫普納評(píng)論說：“如果以我們習(xí)慣性的傲慢，就無法解決南部非正規(guī)居住點(diǎn)的問題。那里售出的系統(tǒng)往往恰好是北部和西部許多問題的根源。這種方法會(huì)阻礙發(fā)展進(jìn)程中的機(jī)會(huì)。”這不僅是一個(gè)城市的翻修問題，而且也是設(shè)計(jì)新的可能性，以打開干預(yù)和行動(dòng)的新局面。克倫普納以公共交通為例：“交通運(yùn)輸不一定非和目前一樣在街道上進(jìn)行，在空中運(yùn)行也是可以的；因此，我們?yōu)榧永铀挂粋€(gè)非正規(guī)區(qū)域開發(fā)了一個(gè)索道。”他所說的“空中纜車”項(xiàng)目是城市智庫最負(fù)盛名的成果，“空中纜車”已經(jīng)在圣奧古斯丁、加拉加斯等區(qū)域運(yùn)營(yíng)，對(duì)那里的社區(qū)交通產(chǎn)生了顯著的積極影響。

以高雅文化取代垃圾

城市智庫在拉丁美洲的許多項(xiàng)目是其規(guī)劃CASM的最佳資質(zhì)。城市智庫與當(dāng)局、外請(qǐng)專家及石窟區(qū)本地居民合作，為帕賴索波利斯開發(fā)了“音樂工廠”。該項(xiàng)目贏得了2012年全球豪瑞獎(jiǎng)銀獎(jiǎng)和2011年拉丁美洲豪瑞獎(jiǎng)金獎(jiǎng)，它的占地面積約為6000m2，分成兩個(gè)部分：一個(gè)陡峭的山坡和山坡腳下的一片平地?；飞线€到處散落著當(dāng)初被泥石流摧毀的建筑物的材料，土壤為沙質(zhì)，遍布泥坑；把它轉(zhuǎn)變成合適的建筑工地將是巨大挑戰(zhàn)。那塊平地上目前有幾間房子和一個(gè)運(yùn)動(dòng)場(chǎng)，但經(jīng)常遭受雨水沖刷。由于這些建筑及其居住者處于高風(fēng)險(xiǎn)區(qū)，他們必須為項(xiàng)目讓歩，以便穩(wěn)固地面，防止發(fā)生災(zāi)難。計(jì)劃在上部區(qū)域?yàn)榫用窠ò仓梅?。新房的低樓層用于商業(yè)經(jīng)營(yíng)，應(yīng)當(dāng)有助于使街道更繁榮、更安全。這座包括音樂學(xué)校和文化設(shè)施在內(nèi)的25m高4層綜合體CASM將建在山坡底部，可以通過貧民區(qū)內(nèi)的一條新街道到達(dá)，并通過一個(gè)大斜坡、一個(gè)橋梁系統(tǒng)和梯田景觀與周圍的景觀相連。開放式設(shè)計(jì)和便利的到達(dá)是該項(xiàng)目成功的關(guān)鍵：帕賴索波利斯的居民必須將CASM當(dāng)作他們自己的建筑，將其融入社區(qū)生活，并承擔(dān)其使用和維護(hù)責(zé)任。

各樓層均有創(chuàng)新

CASM的一樓將以新的開放式體育設(shè)施為特征，樂團(tuán)也可以將其用作室內(nèi)表演場(chǎng)地。據(jù)布林伯格稱，具有多種活動(dòng)項(xiàng)目是保證社區(qū)參與的關(guān)鍵：“我們需要體育設(shè)施，以便讓年齡較大的孩子有理由帶他們的弟弟妹妹來上音樂課。不論是音樂還是體育，CASM的社區(qū)中心功能都是最重要的?！遍_放式底層上方的兩層用作音樂學(xué)校，有大、小教室、練聲室和整個(gè)樂隊(duì)的排練區(qū)。頂層是為重大活動(dòng)和表演設(shè)計(jì)的：在這里，管弦樂隊(duì)和合唱團(tuán)可以在200名觀眾面前表演。CASM的整個(gè)室內(nèi)空間規(guī)劃是與何塞·安東尼奧·阿布雷烏合作設(shè)計(jì)的；他知道委內(nèi)瑞拉國(guó)立青少年管弦樂團(tuán)的運(yùn)轉(zhuǎn)需要什么。CASM的設(shè)計(jì)初衷是，每天可以有1000名兒童、青年和成年人進(jìn)出。在聲學(xué)方面，布林伯格和克倫普納咨詢了世界上最優(yōu)秀的音響工程師之一，慕尼黑的卡爾·海因茨·穆勒。門面設(shè)計(jì)也采用了很多專有技術(shù)。由建筑師開發(fā)的系統(tǒng)以創(chuàng)新混凝土構(gòu)件為基礎(chǔ)，可用于各種目的，包括適應(yīng)一年中不同季節(jié)的氣候條件。這些適應(yīng)性所需的構(gòu)件可以在現(xiàn)場(chǎng)制造，從而為貧民區(qū)內(nèi)的人們提供工作機(jī)會(huì)。

景觀與建筑融為一體

智能門面只是CASM示范性可持續(xù)性概念的一個(gè)組成部分?！熬坝^和建筑融為一體，可以有效應(yīng)對(duì)一年四季的不同情況?！痹O(shè)計(jì)者指出。由于溫暖的北風(fēng)被山擋住，南風(fēng)從下面徐徐吹進(jìn)大樓。排氣通過煙囪排出，煙囪的上部受陽光照射，造成壓差，產(chǎn)生必要的吸力。山坡修成梯田狀，以穩(wěn)固地形，防止暴雨后產(chǎn)生泥石流。由此產(chǎn)生的景觀形成一個(gè)天然的舞臺(tái)，社區(qū)可以用來舉行露天音樂會(huì)，還可用于一系列其他用途。巧妙的設(shè)計(jì)和景觀美化消除了侵蝕；小濕地被動(dòng)地過濾雨水，可用于灰水應(yīng)用。小山也有助于為CASM制冷：冷水經(jīng)管道從小山輸送至每個(gè)樓層的地板內(nèi)冷卻系統(tǒng)，水在此吸收熱量，然后流回山上。到了晚上，水再次冷卻。CASM所需的全部電力均由樓頂800m2使用混合收集器的光伏系統(tǒng)提供。

完美適合——不僅在這里

和世界各地城市內(nèi)的許多地區(qū)一樣，帕賴索波利斯也缺乏安全的公共空間和足夠的社會(huì)基礎(chǔ)設(shè)施。整個(gè)CASM綜合體是作為社區(qū)中心設(shè)計(jì)的，希望為有效的社區(qū)參與提供公共空間。雖然該項(xiàng)目是專為石窟區(qū)提出的具體需求和挑戰(zhàn)量身定制的，休伯特·克倫普納斷言：“其設(shè)計(jì)和許多細(xì)節(jié)稍加調(diào)整即可適應(yīng)其他要求?！笔邊^(qū)的情況在世界各地被重復(fù)了無數(shù)次，城市智庫在帕賴索波利斯的干預(yù)措施可以作為許多類似項(xiàng)目的原型。而在實(shí)現(xiàn)像CASM這樣的項(xiàng)目過程中，還有許多重要因素——包括市政當(dāng)局的支持、創(chuàng)新專家團(tuán)隊(duì)和社區(qū)批準(zhǔn)——以及以異常簡(jiǎn)單的方法應(yīng)對(duì)艱難挑戰(zhàn)的勇氣。words, a new approach had to be developed for Grot?o. Elisabeta Fran?a had a suggestion: the director of the Secretaria Municipal de Habita.ao de S?o Paulo (S?o Paulo Secretary of Habitat – SEHAB) wanted to build a music school in Grot?o.

The wonder of Caracas

A music school in a favela – Bach and Beethoven for people for whom the lack of classical music is probably their least concern? Outsiders may find the idea bizarre at first. In Latin America, however, it is common wisdom that classical music has enormous potential in slums. This development goes back to José Antonia Abreu, a Venezuelan musician, economist, and social politician. Almost 40 years ago he looked for a way to help socially disadvantaged children and youth in the slums of Caracas to escape violence and drugs. The vision that he developed can be summed up as: instruments instead of guns. Musical instruction would educate boys and girls and provide psychological and social stability. El Sistema started in an underground parking garage in 1975 and has developed into the Wonder of Caracas. His unconventional idea has become the model for a global movement and now includes 400 orchestras, 342 choirs, 230 music schools, and 4,000 music teachers. Although it started in Venezuela, where El Sistema is now directly accountable to President Hugo Chávez, it now has programs throughout the Americas, from Canada to Argentina. Te orchestras from the shanty towns have become an export hit: they appear at countless festivals all over the world and have cooperation agreements with many professional orchestras in Europe and the USA. Conductors such as Claudio Abbado, Zubin Metha, and Simon Rattle support the project. Gustavo Dudamel, Abreu's former student and protégé, has be-come the symbol of the movement. Today, the Venezuelan, who completed the program in his home country, is the principal conductor of the Los Angeles Philharmonic Orchestra.

Taking the idea to the experts

About 350,000 children and young people currently receive instruction under El Sistema. The number grows by the day; founder Abreu hopes it will reach one million participants by 2015. El Sistema provides musical instruments and music tuition free of charge six days a week for children from the age of two in music schools where they find a safe and non-violent environment. Moreover, the music teachers work together with the city authorities to provide clothes and food for the students. The plan to use the site in Grot?o for the Centro de Ac?ao Social por la Música (CASM) seems natural in light of Grot?o's current lack of cultural programming, and El Sistema's proven success. However, the initiators in the S?o Paulo city administration knew that it would be no easy task to build a music school in the middle of a favela. Looking for help, they turned to Urban-Think Tank (U-TT), an interdisciplinary design firm with roots in Caracas, led by co-founders and co-principals Alfredo Brillembourg and Hubert Klumpner. Urban-Think Tank is dedicated to highlevel research and design on a variety of subjects concerned with contemporary architecture and urbanism. Tey specialize in projects that engage and benefit communities in informal settlements around the world.

6 景觀和音樂學(xué)院發(fā)展成為一體/Landscape and music school developed as one building

Backpacking instead of an all-inclusive vacation

Alfredo Brillembourg was born in New York in 1961, and Hubert Klumpner was born in Salzburg, Austria, in 1965. Both studied architecture at Columbia University in New York City, where they met as graduate students and began their collaboration. Together, Brillem-bourg and Klumpner launched the Sustainable Living Urban Model Laboratory (SLUM Lab) at Columbia University, and since 2010 share the chair of Architecture and Urban Design at the Swiss Federal Institute of Technology (ETH Zurich). What is it about slums that interests the two enough to devote almost their entire professional lives to them? "If, like me, you come from a very structured society, you experience some sort of culture shock when you first work in informal urban settlements," Hubert Klumpner remarks. "But I find this work simply engrossing. It is like the choice between a spontaneous backpacking trip and booking an allinclusive beach vacation – it's clear which offers more adventure!" In addition, informal urban settlements provide the best opportunities for creating change: "The greatest need for action worldwide is in urban reconstruction in slum zones in the South – and also the greatest potential, because the states in question are undergoing a political sea change toward genuine democracy."

Learning from slums

Te two experts believe that sustainable building means something very different in informal urban settlements than in central business districts. "Informal urban settlements already produce as little waste and are as densely built as we are painstakingly trying to achieve in developed districts," Alfredo Brillembourg states. He and Hubert Klumpner are convinced that informal urban settlements can serve as a model for formal ones. Alfredo Brillembourg: "If we succeed in retaining what is good about slums and simultaneously improve the quality of life, we will achieve a situation that will make people want to live in these districts." This would be a paradigm shift; up to now the aim has always been to adapt informal zones to the formal city. Yet Klumpner remarks: "We cannot approach the problems of informal settlements in the South with our customary arrogance. Often the systems sold there are precisely those that are the source of so many problems in the North and West. This approach blocks the opportunity of progress in development." It is not just a question of urban repair,

7 建筑系統(tǒng)：建筑與景觀配合實(shí)現(xiàn)的綜合性主動(dòng)及被動(dòng)式系統(tǒng)/Building systems: building and landscape work together to create a comprehensive combination of active and passive systems

9 but of designing new possibilities to open up new levels of intervention and action. Klumpner uses the example of public transport: "It is not necessary for it to run at street level as at present, it could run in the air; for this reason we developed a cableway for an informal quarter in Caracas that carries people to the higher areas." Te Metro Cable project to which he refers is one of U-TT's most celebrated efforts, and it has made a marked positive impact on transportation in the community of San Agustin, Caracas, where it operates.

High culture instead of garbage

U-TT's numerous projects in Latin American slums are its best qualification for planning the CASM. Working together with the authorities, external experts, and Grot?o locals, U-TT developed a fábrica da música for Paraisópolis. The project, which won the Global Holcim Awards Silver 2012, and the Latin America Holcim Awards Gold 2011, sits on a site measuring about 6,000m2. It is divided into two sections: a steep slope, and a flat terrain at the foot of the slope. Material from the buildings destroyed in the mudslide is still strewn across the plot, and the soil is sandy and full of mud holes; transforming it into a suitable building site will be a challenge. There are currently a few houses and a sports ground on the flat terrain, but rains often flood them. Because these structures and their inhabitants are in a high risk zone, they will have to make way for the projects so the ground can be stabilized to prevent future disasters. Replacement housing for the residents is planned for the upper zone. Commercial operations in the lower levels of the new houses should help to make the streets livelier and safer. The 25-meter-high, four-storey complex with music school and cultural facilities, the CASM, will be built on the site at the bottom of the slope. It will be accessed via a new street through the favela and linked to the surrounding landscape via a large ramp, a system of bridges, and the terraced landscape. Te open design and easy accessibility are critical to the project's success: the residents of Paraisópolis must regard the CASM as their own building, integrating it into community life, and assuming responsibility for its use and maintenance.

Innovation at all levels

The ground floor of CASM will feature new open sports facilities that can also be used by the orchestra as a covered performance space. According to Brillembourg, having a variety of programming is critical in ensuring community involvement: "We need the sports facilities so that the older kids have a reason to bring their younger siblings to music class. Whether music or sport, the important thing is that the CASM functions as a community center." The two storeys directly above the open lower level are intended for the music school; there are large and small classrooms, practice rooms for soloists, and rehearsal spaces for the full orchestra. The top storey is designed for major events and performances: here the orchestra and choir can perform in front of audiences of up to 200. Te entire interior layout of CASM was planned in collaboration with José Antonio Abreu; he knows what El Sistema needs to function. CASM is designed so that up to 1000 children, youths, and adults per day can go in and out. For the acoustics Brillembourg and Klumpner consulted Karlheinz Müller of Munich, held to be one of the best acoustics engineers in the world. A lot of know-how has also gone into the design of the fa.ade. Te system developed by the architects is based on innovative concrete elements, which can be adapted for various purposes, including to meet the climatic conditions of the different seasons of the year. The elements for these adaptations can be manufactured on site, which will provide jobs for people in the favela.

Landscape and building work as one

Te intelligent facade is only one component of CASM's exemplary sustainability concept. "Landscape and building work as one system that can effectively handle the varying conditions of the cycle of seasons," the authors point out. Whereas the warm northerly winds are blocked by the hill, a southerly breeze flows into the building from below. Te exhaust air is vented through a chimney in which the necessary suction is induced by the difference in pressure resulting from solar radiation on the upper part of the stack. Te hill is terraced to stabilize the topography and prevent mud slides after heavy rains. Te resulting landscape forms a natural arena that the community can use for open-air concerts and a range of other purposes. Ingenious design and landscaping eliminates erosion; small wetlands passively filter rainwater, which can be used for gray-water applications. Te hill also helps to cool the CASM: cool water is carried in pipes from the hill to the in-floor cooling systems on each level, where it absorbs heat, before flowing back to the hill. At night the water cools down again. All the electricity needed by the CASM is supplied by an 800m2photovoltaic system on the roof that uses hybrid collectors.

Perfect fit – and not only here

Paraisópolis, like many districts in cities around the world, lacks safe public space and adequate social infrastructure. Te entire CASM complex is designed as a community center, in hopes of providing public space for productive community engagement. While the project is tailored to the specific needs and challenges presented by Grot?o, Hubert Klumpner asserts, "the design and many details can easily be adapted to fit other requirements." The situation in Grot?o is repeated countless times all over the world, and Urban-Think Tank's intervention in Paraisópolis could serve as a prototype for many similar projects. While there are many crucial factors in the realization of a project like CASM – including supportive city authorities, an innovative team of experts, and community approval – and the courage to answer difficult challenges with an unusually simple idea.