建筑設計：馬科斯·科羅內爾·布拉沃/PICO集體

顛覆性的小型經(jīng)濟體

通過使用一些廢舊集裝箱及其他物件對閑置建筑進行徹底的改造，這個另類的經(jīng)濟體微型組織致力于推廣藝術的認知與實現(xiàn)。

這個項目意味著一種文化征服的過程，其源自于將街道作為轉化空間而展開的文化抵抗。這座建筑位于城市中心區(qū)內空間最為局促的地帶，與城市中心廣場、商店和市政部門相距不遠。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部門曾經(jīng)在此辦公，直到他們因設備在社會抗議中遭到重大破壞而不得不離開。

該大眾經(jīng)濟體找到了機會修復此地的基礎設施并取得這座廢棄建筑的使用權。他們對這座建筑進行了全新的策劃，試圖創(chuàng)造一個文化創(chuàng)意空間，讓年輕的團體可以在其間舉辦各類不同的文化活動。這個設計的核心展現(xiàn)了一種改造模式，將現(xiàn)存建筑物加設一系列支撐在原有建筑結構上的新裝置，在一個系統(tǒng)內用不同的制作單元來統(tǒng)一空間操作。在這個區(qū)域中容納的單元包括城市菜園與咖啡吧、圖像實驗室、視聽室、網(wǎng)絡系統(tǒng)和社交媒體、錄音工作室和音樂排演廳、展覽藝廊和多功能工作室、滑冰場、多功能廳及音樂廳等等。

海運集裝箱原本是運輸裝備，它們被捐贈給這個項目得到了利用，由此實現(xiàn)了設計預期，也使這個項目得以集中經(jīng)濟資源投入到建設中的科技設備和技術資源。

設計的實現(xiàn)方法是在舊建筑上安裝新裝置，利用建筑業(yè)產(chǎn)生的剩余建筑構件給集裝箱加裝擴展的體量，用廢舊油桶制作窗戶構件。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、構件或零件中，設計師還選取了類似甲板表面的高密度PVC板材，木質裝飾物、玻璃纖維、鍍鋅銅等原料。

雖然由藝術家與城市創(chuàng)新者管理，但“文化制作地帶”不僅是屬于單一文化團隊的建筑，它也會將文化能量輻射至整個社區(qū)，甚至能為其他不同的國內外組織團體提供適應各自的工作方案。這些團體可以進行平面設計、音樂和視聽產(chǎn)品的制作，與此同時，廣場、籃球場和滑冰場能夠給當?shù)鼐用袷褂茫喙δ軓d空間可以用于社區(qū)內周期性的聚會、會議、電影放映和公共對話等活動，向全社會開放。□（楊安琪 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.□

評論

關飛：沒有什么比用“舶來品”這三個字來形容這組集裝箱建筑更恰當?shù)牧?。這組位于委內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?shù)啬贻p人對于外來文化和藝術的熱衷，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”對于委內瑞拉年輕人的影響。很難用建筑學的標準來評價這個建筑，快速運輸或模塊化建造顯然不是建筑師的出發(fā)點，結構的美感不是最重要的，“舶來感”和“陌生感”才是關鍵。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者使用與展示的空間與場所。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，以極低的造價營造了一處集合了多種功能與使用方式的空間和場所，并且這些空間和場所可以通過藝術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 內景/Interior views

11 內景/Interior views

項目信息/Credits and Data

項目負責人/Project: Marcos Coronel/PICO Project of Communal Interest

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

項目團隊/Project Team: María Isabel Ramírez, Michelle Isoldi, José Bastidas

建造技術/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

技術助理/Technical Assistance: Juan Castillo, Williams Adjunta, Kenneth Gomez,

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

機構支持/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團隊/PICO Team: Marcos Coronel, Juan Castillo,Kenneth Gómez, Karina Domínguez, Ana Vielma, Manuel Coronel, Stevenson Pi?a.