文化制作地帶：城市創(chuàng)意單元，瓜卡拉，委內(nèi)瑞拉

建筑設(shè)計(jì)：馬科斯·科羅內(nèi)爾·布拉沃/PICO集體

顛覆性的小型經(jīng)濟(jì)體

通過使用一些廢舊集裝箱及其他物件對(duì)閑置建筑進(jìn)行徹底的改造，這個(gè)另類的經(jīng)濟(jì)體微型組織致力于推廣藝術(shù)的認(rèn)知與實(shí)現(xiàn)。

這個(gè)項(xiàng)目意味著一種文化征服的過程，其源自于將街道作為轉(zhuǎn)化空間而展開的文化抵抗。這座建筑位于城市中心區(qū)內(nèi)空間最為局促的地帶，與城市中心廣場(chǎng)、商店和市政部門相距不遠(yuǎn)。建筑基址是一片未經(jīng)充分利用的地區(qū)。公共電信公司的技術(shù)部門曾經(jīng)在此辦公，直到他們因設(shè)備在社會(huì)抗議中遭到重大破壞而不得不離開。

該大眾經(jīng)濟(jì)體找到了機(jī)會(huì)修復(fù)此地的基礎(chǔ)設(shè)施并取得這座廢棄建筑的使用權(quán)。他們對(duì)這座建筑進(jìn)行了全新的策劃，試圖創(chuàng)造一個(gè)文化創(chuàng)意空間，讓年輕的團(tuán)體可以在其間舉辦各類不同的文化活動(dòng)。這個(gè)設(shè)計(jì)的核心展現(xiàn)了一種改造模式，將現(xiàn)存建筑物加設(shè)一系列支撐在原有建筑結(jié)構(gòu)上的新裝置，在一個(gè)系統(tǒng)內(nèi)用不同的制作單元來統(tǒng)一空間操作。在這個(gè)區(qū)域中容納的單元包括城市菜園與咖啡吧、圖像實(shí)驗(yàn)室、視聽室、網(wǎng)絡(luò)系統(tǒng)和社交媒體、錄音工作室和音樂排演廳、展覽藝?yán)群投喙δ芄ぷ魇?、滑冰?chǎng)、多功能廳及音樂廳等等。

海運(yùn)集裝箱原本是運(yùn)輸裝備，它們被捐贈(zèng)給這個(gè)項(xiàng)目得到了利用，由此實(shí)現(xiàn)了設(shè)計(jì)預(yù)期，也使這個(gè)項(xiàng)目得以集中經(jīng)濟(jì)資源投入到建設(shè)中的科技設(shè)備和技術(shù)資源。

設(shè)計(jì)的實(shí)現(xiàn)方法是在舊建筑上安裝新裝置，利用建筑業(yè)產(chǎn)生的剩余建筑構(gòu)件給集裝箱加裝擴(kuò)展的體量，用廢舊油桶制作窗戶構(gòu)件。在從其他工程登記的填埋垃圾中取得的多種稍有瑕疵的再生材料、構(gòu)件或零件中，設(shè)計(jì)師還選取了類似甲板表面的高密度PVC板材，木質(zhì)裝飾物、玻璃纖維、鍍鋅銅等原料。

雖然由藝術(shù)家與城市創(chuàng)新者管理，但“文化制作地帶”不僅是屬于單一文化團(tuán)隊(duì)的建筑，它也會(huì)將文化能量輻射至整個(gè)社區(qū)，甚至能為其他不同的國(guó)內(nèi)外組織團(tuán)體提供適應(yīng)各自的工作方案。這些團(tuán)體可以進(jìn)行平面設(shè)計(jì)、音樂和視聽產(chǎn)品的制作，與此同時(shí)，廣場(chǎng)、籃球場(chǎng)和滑冰場(chǎng)能夠給當(dāng)?shù)鼐用袷褂?，多功能廳空間可以用于社區(qū)內(nèi)周期性的聚會(huì)、會(huì)議、電影放映和公共對(duì)話等活動(dòng)，向全社會(huì)開放?！酰畎茬?譯）

1 外景/Exterior view

2 改造前/Before renovation

3 鳥瞰/Aerial view

4 外景/Exterior view

Subversive small economies

Microorganism of alternative economies based on the artistic disciplines realisation, through restructuring of an unoccupied building, using obsolete containers and objects.

This project is a symbol of a cultural conquest process derived from the confrontation by taking the street as a space for transformation. It is located in the most intense area of the city centre, very close to the main square, shops and municipal institutions, in an underutilised plot where technical offices of the public telecommunications company operated, until the vandalisation of its facilities during violent social protests.

The popular organisation sees the opportunity to recover infrastructure and manages to take the building, reprogramming it in order to develop a space of cultural creation that endorses different cultural activities developed by young groups. The nucleus articulates a preexisting building with a series of new devices supported on the original structure, unifying operating spaces in a single system composed by different production units:urban vegetable garden and cafe restaurant, image laboratory, audiovisuals, networks and social media,recording studio and a musical rehearsal room,exhibition gallery and a multipurpose workshop,skatepark, multipurpose court and concert hall constitute the whole area.

Shipping containers used to respond to a preestablished condition that allows to take advantage of these objects once it had been chartered to transport technical equipment acquired as a endowment of the project, concentrating economic resources on technological transfer devices and technical resources in construction.

The approach is to articulate the old building structure with these new devices, taking advantage of surplus structures commonly generated by the construction industry, to install prostheses and extensions of the shipping containers, oil drums to the window components manufacture, high density PVC boards such as deck surfaces, wood trimmings,fiberglass, galvanised brass, among different second lives materials, parts and components with minimal imperfections obtained when registering landfills of materials from other works.

Cultural Production Zone is not only a building belonging to a cultural group, although it is managed by artists and urban creators, it also radiates to the whole community, emitting programmes articulated with other organisations inside and outside the country. These groups make graphic, musical and audiovisual productions, at the same time that square, basketball court, and skatepark are used regularly by local crews, in the same way that polyvalent hall receives periodic neighbours meetings, conferences, cinema forums and public conversations, opening the space to the whole society.□

評(píng)論

關(guān)飛：沒有什么比用“舶來品”這三個(gè)字來形容這組集裝箱建筑更恰當(dāng)?shù)牧?。這組位于委內(nèi)瑞拉古阿卡拉的社區(qū)文化中心所呈現(xiàn)出來的毫無疑問是當(dāng)?shù)啬贻p人對(duì)于外來文化和藝術(shù)的熱衷，在這里集裝箱不僅是物理容器，更是文化載體，尤其可見“舶來文化”對(duì)于委內(nèi)瑞拉年輕人的影響。很難用建筑學(xué)的標(biāo)準(zhǔn)來評(píng)價(jià)這個(gè)建筑，快速運(yùn)輸或模塊化建造顯然不是建筑師的出發(fā)點(diǎn)，結(jié)構(gòu)的美感不是最重要的，“舶來感”和“陌生感”才是關(guān)鍵。這組建筑作為社區(qū)的文化載體要傳遞的是革命和熱情、艷麗的色彩、反叛的情緒……這就是為什么年輕的建造者們要選取市中心一個(gè)廢棄的老房子來“嫁接”新建筑的原因。

周政旭：這一位于城市中心地區(qū)的集裝箱聚落創(chuàng)造了一處可供城市青年藝術(shù)者使用與展示的空間與場(chǎng)所。借助于廢棄的集裝箱與基地閑置的房屋，通過有趣的體型組合與流線組織，以極低的造價(jià)營(yíng)造了一處集合了多種功能與使用方式的空間和場(chǎng)所，并且這些空間和場(chǎng)所可以通過藝術(shù)青年的使用而再定義，成為激發(fā)附近社區(qū)活力的觸媒和容器。

5 外景/Exterior view

6 施工中/Under construction

Comments

GUAN Fei: No other words are more accurate than"exotic" to describe this container building. This community cultural centre in Guácara, Venezuela reflects the local youth's passion for exotic culture and art. Here the containers are not only physical containers, but more like a cultural carrier, which especially shows the influences of "exotic culture"to the youth in Venezuela. It is hard to judge the construction by using architectural standards, because rapid transportation or modulised construction is obviously not the starting point of the architect, nor the structural aesthetics are the most important, in fact, the key of the project is the sense of "exotic" and"strangeness". As a cultural carrier in the community,what the construction tries to pass on are revolution and passion, gorgeous colours, rebellious feeling, which is why the young builders choose an abandoned old house in the city centre to "graft" the new building.

ZHOU Zhengxu: This cluster of containers is located in the central urban area that provides a space and site for urban young artists to use and demonstrate. With the help of the abandoned containers and idle houses on the base, and through interesting body combination and flow line organisation, a space and site integrating multiple functions and using modes is created at an extremely low cost. Moreover, the space and site can be re-defined by the use of artistic youth, and becomes a trigger and container stimulating the vitality in the neighbourhood.

7 室外樓梯/Outside stairs

8 屋頂/Roof

9 屋頂/Roof

10 內(nèi)景/Interior views

11 內(nèi)景/Interior views

項(xiàng)目信息/Credits and Data

項(xiàng)目負(fù)責(zé)人/Project: Marcos Coronel/PICO Project of Communal Interest

文化推廣/Cultural Promoter: Alfredo Pineda/La Vieja Escuela

項(xiàng)目團(tuán)隊(duì)/Project Team: María Isabel Ramírez, Michelle Isoldi, José Bastidas

建造技術(shù)/Technician of Construction: Manuel Coronel

建造主管/Master of Construction: Juan Ortega

焊接/Blacksmith: Juan Ortega, José Suarez

建造/Construction: Carlos Sánchez, Joel Meléndez, Luis Rojas, Argenis Durand

電力/Electricity: Edison Rivas

技術(shù)助理/Technical Assistance: Juan Castillo, Williams Adjunta, Kenneth Gomez,

捐助者/Contributors: Adriano Pastorino, Patricia Henríquez, Nickol Bendek

機(jī)構(gòu)支持/Institutional Support: BANDES Economic and Social Development Bank, FONDEMI Microfinance Development Fund, Ministry of Communes and Social Movements

文化執(zhí)行/Cultural Operators: José Leonardo Uzcategui,Jorge de León, Andrés Estrada, Dominic Almarza, Francisco Márquez, Iván Ramos/ZPG

面積/Surface and Components Area: 550 m2

攝影/Photos: José Alberto Bastidas

PICO團(tuán)隊(duì)/PICO Team: Marcos Coronel, Juan Castillo,Kenneth Gómez, Karina Domínguez, Ana Vielma, Manuel Coronel, Stevenson Pi?a.