© Sergio Gustavo Esmoris

c Sergio Gustavo Esmoris

建筑师提供的文字说明。这项工作庆祝了小农户的土地革命，主要是意大利和西班牙移民，称为"ElGritodeAlcorta"(1912年)。在阿尔科塔镇的震中，它分布在整个圣达菲省和后来的国家，引起阿根廷农业联合会(FAA)的崛起。通过参与涉及阿科塔公社、圣达菲省和联邦政府的参与协作，与联邦航空管理局大会合作，纪念碑不仅唤起了农民、他们的工作和斗争、土地的使用和拥有、以及合作社主义，而且还在为农民和公民每天收集空间方面实现了这些活动，克服了过去的被动、不同的纪念碑。

Text description provided by the architects. The work celebrates the agrarian rebellion of small rural tenants, mostly Italian and Spanish immigrants, known as "El Grito de Alcorta" (1912). With epicenter in the town of Alcorta, it spread throughout the Santa Fe province and later the country, giving rise to the Argentine Agrarian Federation (FAA). Working with FAA Assembly through participatory collaboration involving the Alcorta Commune, the Santa Fe Province and the Federal Government, the memorial not only evokes the farmers, their work and struggles, the use and possession of the land, and the cooperativism, but also actualizes them in a daily gathering space for farmers and citizens, overcoming the passive, reverent monuments of the past.

Text description provided by the architects. The work celebrates the agrarian rebellion of small rural tenants, mostly Italian and Spanish immigrants, known as "El Grito de Alcorta" (1912). With epicenter in the town of Alcorta, it spread throughout the Santa Fe province and later the country, giving rise to the Argentine Agrarian Federation (FAA). Working with FAA Assembly through participatory collaboration involving the Alcorta Commune, the Santa Fe Province and the Federal Government, the memorial not only evokes the farmers, their work and struggles, the use and possession of the land, and the cooperativism, but also actualizes them in a daily gathering space for farmers and citizens, overcoming the passive, reverent monuments of the past.

 © Federico Cairoli

c.Federico Cairoli

 © Federico Cairoli

c.Federico Cairoli

在裸露的100m中，仅存在四个大暴露的混凝土基础。x75米地形，1962年为50周年建造，作为VeraMukhina's苏联"社会主义现实主义"风格的雕塑作品的一部分。由联邦航空局开发的目前400m2的建筑计划展现了小型文化功能，这是一个公民广场，允许实现该契约的公共庆祝活动，一个150人的礼堂，以及一个永久和临时展览或口译中心的画廊，从1912年起，这些历史物品来自各省。

Only four large exposed concrete foundations were present in the bare 100m. x 75m terrain, built in 1962 for the 50th anniversary as part of a monumental project of sculptural figures in the style of Vera Mukhina's soviet "socialist realism". The current 400m2 building program developed with the FAA unfolds small cultural functions, a Civic Plaza that allows the realization of public celebratory acts of the deed, an Auditorium for 150 people, and a Gallery of permanent and temporary exhibitions or interpretation center where historical objects from the 1912 events were brought from the Provinces.

Only four large exposed concrete foundations were present in the bare 100m. x 75m terrain, built in 1962 for the 50th anniversary as part of a monumental project of sculptural figures in the style of Vera Mukhina's soviet "socialist realism". The current 400m2 building program developed with the FAA unfolds small cultural functions, a Civic Plaza that allows the realization of public celebratory acts of the deed, an Auditorium for 150 people, and a Gallery of permanent and temporary exhibitions or interpretation center where historical objects from the 1912 events were brought from the Provinces.

 © Sergio Gustavo Esmoris

c Sergio Gustavo Esmoris

这些内部的强烈和紧密的鳞片被广泛的、折叠的外平面容纳在西北表面上，所述外部平面由大的钢节奏Portios、倾斜的框架和模块化的加固板构成。这个屏幕承载着表达的美学内容，同时将纪念性的规模作为经典的风景，对在90号公路上循环或从城镇到达的轨道的强制透视。从联邦航空局照片档案中拯救出来的大规模救灾召回历史"储存"，从联邦航空局的照片档案中拯救出来，通过一个当地制作的面板来实现。“用玻璃纤维增强的树脂和以几何化的木质形式模制的粗麻布制成的系统。”西亭包含联邦航空管理局的办公室和公共厕所，在钢筋混凝土结构和从地面上出现的钢型材中。在上面，在下降的露台上，沿着主屏幕的外部坡道和步入式楼梯后的楼梯进入，正在考虑广阔的地平线和Pampan灿烂的日落。

These interior’s intense and intimate scales are housed at the northwest face by an extensive, folded exterior plane structured by large steel rhythmic porticos, inclined frames and modular rugged panels. This screen carries the expressive aesthetic content, while articulating the monumental scale as a classic scenery, a forced perspective for tracks circulating on Route 90 or arriving from the town. The massive relief recalling historic "stockpiles" of burlap or tow corn sacks, as rescued from the FAA photo Archives, materializes through a locally crafted panels’ system made out of resin reinforced with fiberglass and crude burlap molded on geometrically pixelated wooden forms. The west pavilion contains FAA offices and public toilets, in a reinforced concrete structure and steel profiles emerging from the plowed earth. Above it, on the descending terraces —accessed by an exterior ramp along the main screen and a staircase following the stepping—, the vast horizon and Pampean splendid sunsets are being contemplated.

These interior’s intense and intimate scales are housed at the northwest face by an extensive, folded exterior plane structured by large steel rhythmic porticos, inclined frames and modular rugged panels. This screen carries the expressive aesthetic content, while articulating the monumental scale as a classic scenery, a forced perspective for tracks circulating on Route 90 or arriving from the town. The massive relief recalling historic "stockpiles" of burlap or tow corn sacks, as rescued from the FAA photo Archives, materializes through a locally crafted panels’ system made out of resin reinforced with fiberglass and crude burlap molded on geometrically pixelated wooden forms. The west pavilion contains FAA offices and public toilets, in a reinforced concrete structure and steel profiles emerging from the plowed earth. Above it, on the descending terraces —accessed by an exterior ramp along the main screen and a staircase following the stepping—, the vast horizon and Pampean splendid sunsets are being contemplated.

 © Sergio Gustavo Esmoris

c Sergio Gustavo Esmoris

 Plans + Sections

图则部分

 © Sergio Gustavo Esmoris

c Sergio Gustavo Esmoris

在不同的尺度上粗糙的纹理恢复了一个纺织和触觉的纹理，以一种共同的语言描述土地上的农业工人所雕刻的劳动，他们的鞣制过的皮肤粗糙的皱纹，被太阳裂开了--在绘画"《宣言》n"中观察到艺术家安东尼奥·伯尼(1934)-他们的衣服和粗糙的袋子最终堆积在装载中。这被重建为自由堆积壁，并且水平地挤压所述缀合物以形成连续部分。该沟槽表面在建筑物之外展开,而金属板面板的横向分段最终使建筑物与地平线协调。外部犁头与内部紧密相连，形成胶合板家具，通过拉伸内衬延伸出最大可能的展览表面，直到将礼堂包裹在木板、上升槽和麦穗上。

Rough textures at different scales recover a textile and tactile grain portraying in a common language the labor engraved by the agrarian workers on the land, their tanned skins rugged as furrows, cracked by the sun —observed in the painting "Manifestación" alluding to the Grito de Alcorta by artist Antonio Berni (1934)— their clothes and the rough bags finally piled up in the stowage. This is reconstructed as a free stacking wall and horizontally extruding porticos that conjugate to form continuous sections. This fluted surface unfolds beyond the building while the lateral sectioning of the sheet metal panels finally reconciles the building with the horizon. The exterior plowed pampas become intimate to the interior, forming plywood furniture, extending the greatest possible exhibition surface by stretching the inner lining, until wrapping the auditorium in furrowed boards, ascending grooves and wheat ears.

Rough textures at different scales recover a textile and tactile grain portraying in a common language the labor engraved by the agrarian workers on the land, their tanned skins rugged as furrows, cracked by the sun —observed in the painting "Manifestación" alluding to the Grito de Alcorta by artist Antonio Berni (1934)— their clothes and the rough bags finally piled up in the stowage. This is reconstructed as a free stacking wall and horizontally extruding porticos that conjugate to form continuous sections. This fluted surface unfolds beyond the building while the lateral sectioning of the sheet metal panels finally reconciles the building with the horizon. The exterior plowed pampas become intimate to the interior, forming plywood furniture, extending the greatest possible exhibition surface by stretching the inner lining, until wrapping the auditorium in furrowed boards, ascending grooves and wheat ears.

 © Sergio Gustavo Esmoris

c Sergio Gustavo Esmoris

Architects [eCV] estudio Claudio Vekstein

Location RP90, Alcorta, Santa Fe, Argentina

Category Memorial Center

Lead Architects Claudio Vekstein

Commission agents Federación Agraria Argentina, Gobierno de la Provincia de Santa Fe, Comuna de Alcorta, Gobierno de la Nación Argentina

Project Manager Carolina Telo

Area 400.0 m2

Project Year 2018

Photographs Sergio Gustavo Esmoris, Federico Cairoli