© Gino Zavala Bianchi

(Gino Zavala Bianchi)

架构师提供的文本描述。这是一座可运输的建筑，由木材制成，位于智利康塞普西翁市的独立广场上。由智利CORFO开发公司委托，它涉及创建一个展馆，可容纳与城市生产和创意部门有关的活动和展览。考虑到这是一个新兴部门，其主要问题之一是它们之间缺乏联系，我们建议在一个高度并发的城市地方建立一个能够聚集、接待和想象本次会议的空间。展馆在公共空间完成后，将被卸下并运送到康塞普西翁市创作与合作工作中心C3，以开展其他项目活动并利用这一空间。

Text description provided by the architects. It is a transportable building made of wood and located on Independence Square in the city of Concepcion, Chile. Commissioned by the development corporation CORFO Chile, it involves creating a pavilion that can accommodate activities and exhibitions related to the productive and creative sector of the city. Taking into account that this is an emerging sector and one of its main problems is the lack of connection between them, we propose a space able to gather, receive and visualize this meeting in a high concurrency urban place. Having completed its period allotted in the public space, the pavilion will be dismounted and transported to the Concepcion Municipal Center of creation and collaborative work C3, for other program activities and use of this space.

 © Gino Zavala Bianchi

(Gino Zavala Bianchi)

为了提高展馆的可见度，我们选择了位于康塞普西翁最繁忙广场的Caupolicán y Barros Arana街交汇处的拐角处。康塞普西翁广场是一个充满历史文物的热门地方，是政治和宗教表现的场所，是每天数百人经常光顾的社会对比的公共空间。

To generate visibility through the pavilion, we chose the corner located at the intersection of Caupolicán y Barros Arana streets in the busiest square of Concepcion, a popular place loaded with historic urban objects, the scene of political and religious manifestations, a public space of social contrasts frequented daily by hundreds of people.

 © Gino Zavala Bianchi

(Gino Zavala Bianchi)

展馆：

The pavilion:

公共空间中的一个奇怪的物体。

A strange object in public space.

在最繁忙的城市中心，一座临时的木结构建筑，无疑是那些经过那里的人的异物。因此，过路人的自然反应是询问这种结构的目的或原因，此外，也有一种自发的努力试图解开它的含义。

A temporary wood building installed in the busiest city center, is without a doubt a foreign object for those who pass through there. Thus, the natural reaction of the passerby is to ask about the purpose or reason for such a structure, moreover, there is a spontaneous effort to try to unravel its meaning.

从这一角度出发，对这一客体作为公共事实的含义产生了一些解释和自发的解释。从倒置扬声器的图像上看，是一颗空间卫星，它指的是物体的形状并将其转化为物体。即使孩子们在里面奔跑时的天真解读，也提到了一个可以休息的家，还有一个圆圈，可以参照把展馆中央和外部隔开的木头边缘来玩。但这是最经常出现的想法，也引起了我们的注意：它指的是智利南部马普切人的乡土建筑-茅屋。在这一合作关系中，最特别的是它不是直接正式的，因为这间小屋是一个椭圆形的建筑，在其边界上关闭，只有两个入口，内部的一场火灾通过顶部的两个小开口排出烟雾。因此，它显然与一个有10个入口的展馆形成了鲜明的对比，这10个入口完全是用木头做的，中央是向天空开放的。

From this perspective, a number of interpretations and spontaneous explanations on what the meaning of this object as a public fact are generated. From the image of an inverted speaker, a space satellite, which refer to the form and turn the construction into an object. Even the naive interpretation of children as they run inside speak of a home to rest and a circle to play with reference to the wood edge that separates the center from the exterior of the pavilion. But it is the most recurring idea, which has drawn our attention: the one that refers to the hut, the vernacular building of the Mapuche people of southern Chile. Most particularly in this partnership is that it is not directly formal, because the hut is a construction with an oval plan, closed on its borders with only two entrances, and a fire inside that expels smoke through two small openings at the top. Thus it obviously contrasts with a pavilion open with 10 entrances, made entirely of wood and open to the sky in its center.

 © Gino Zavala Bianchi

(Gino Zavala Bianchi)

材料和结构。

Materials and structure.

在我们的文化中，木结构产生紧密性，此外，木结构的桁架是不稳定和自我建构的标志。这些要素是一种以公平资源进行干预的表现，其目的是解释在综合建造过程中的精确发展-剥夺了装饰品和多余和不必要的要素-实现这类建筑。这些元素被解释为与原语密切相关的东西。那些进入的人想象他们可以用他们自己的手，没有花哨的或外国的技术来做这件事。似乎他们眼前的一切只不过是对我们文化中一直存在的建设性方式的重新解释。

In our culture, a wood construction generates closeness, moreover, a truss made of timber is a sign of precariousness and self-construction. These elements are the manifestation of an intervention with fair resources, which seeks to explain the precise development in synthetic construction processes stripped of ornaments and superfluous and unnecessary elements when materializing a building of this kind. These elements are interpreted as something close, related to the primitive. Those who enter imagine that they could make this with their own hands, with no fancy or foreign technologies. It seems that everything before their eyes is nothing but the reinterpretation of constructive ways that have always been present in our culture.

预制

Pre fabrication

该项目的施工过程包括由较小的构件组成的一系列预制元件的开发。这些组合元素是：桁架，地板和墙壁覆层，以及一系列独立的部件，如对角线和梁。为建造桁架、楼板和包层，我们开发了一系列大型阵列，其上的所有预制件都是按顺序制作的。基于矩阵的生产所产生的好处导致了一个减少装配时间的机械过程，并且它的实现不需要专门的人工。

The construction process of the project consists of the development of a series of precast elements made of smaller pieces. These composite elements are: trusses, floors and wall cladding, as well as a series of individual pieces like diagonals and beams. For the construction of the trusses, floors and cladding we developed a series of large scale arrays on which all the prefab elements were serially made. The benefits generated by production based on matrices results in a mechanical process that decreases assembly time and does not require specialized labor for its implementation.

一旦预制件建成，展馆被安装，每一件的契合被验证，同时进行其零件的标记过程，以便它可以拆卸和储存，以便于转移和随后安装在位于城市中心的临时目的地。大约30天后，展馆返回C3创造中心，并无限期地停留在那里。

Once the prefab units are built, the pavilion is mounted, the fit of each piece is verified and at the same time the process of labeling its parts is done, so that it can be disassembled and stored for transfer and subsequent installation in its temporary destination located in the center of the city. After approximately 30 days the pavilion returns to the C3 creation center and stays there indefinitely.

 © Gino Zavala Bianchi

(Gino Zavala Bianchi)

Architects República Portátil

Location Plaza de la Independencia - Bernardo O'Higgins 630, Concepción, Concepción, Región del Bío Bío, Chile

Category Pavillion

Project Year 2016

Photographs Gino Zavala Bianchi