架构师提供的文本描述。这个项目的出发点是我自己无法清楚地区分建筑中的虚构和现实。对象和叙事之间的关系包含了我认为值得探索的一个分散的领域。通过传统的电影技术，我在此介绍的建筑创造了一种遗弃世界的意象，它是通过图像、符号和空间感的积累而产生的，这些图像、符号和空间感觉与历史上伴随着遗弃、去属地化、流放和自我放逐的物体和空间的原型特征直接相关。

Text description provided by the architects. This project sets out from my own inability to clearly tell the difference between fiction and reality in architecture. The relationship between object and narrative entails what I consider a diffused ground worth being explored. Through the means of traditional cinematographic technique, the construction I hereby introduce creates an imagery of abandonment of the world by virtue of an accumulation of images, symbols and spatial sensations that relate directly to the archetypical features of objects and spaces that have historically accompanied processes of abandonment, deterritorialization, exile and self-exile.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

电影的结果是通过叠加一些来自物体的图像，它的建造过程，和一个声音-通过阅读曼努埃尔拉昆扎1779年至1794年之间所写的信件。拉库扎是一位神秘主义神学家，生活在智利，后来由于耶稣会士于1767年从拉丁美洲流亡到意大利；他的信讲述了他与一群耶稣会士一起被驱逐的故事。受信件的启发，设计方法因此成为营造气氛的主要来源，然后通过电影为上述图像服务。换句话说，物体-建筑-在视觉上和主观上再现了书信中所描绘的主体的形象。摄像机通过固定平面和旅行在建筑物中移动，因为它将其解构成各种碎片化的图像，与声音转换的效果相反，这确实构成了一种叙事。

The cinematographic outcome was achieved by way of superimposing a number of images derived from the object, its construction process, and a voice-over that reads the letters written by Manuel Lacunza between 1779 and 1794. Lacunza was a mystic theologian who lived in Chile and later moved to Italy due to the exile of the Jesuits from Latin America in 1767; his letters narrate the story of his banishment together with a group of Jesuits. Inspired by the letters alone, the design approach is hence one which finds in form the primary source for the construction of an atmosphere, which is then put at the service of the above mentioned imagery through cinematography. The object -the building-, in other words, recreates visually and subjectively the imagery of the subject portrayed in the letters. The camera moves across the building through fix planes and travellings, as it deconstructs it into various fragmented images countered by the effect of the voice-over, which indeed constructs a narration.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

有一段时间，有必要忘记对象整体的外观，而只引用一系列片段/图像。这些图片让人回想起修道院的走廊，以及与外界联系有限的房间，以及从上面无人问津的荒凉景观。在中间，不太可能出现一个黑色的、单块的、自主的、似乎是自我引用的块。相机只能记录已经存在的东西-直到现在还没有任何可能的虚构。只有在蒙太奇的过程中，图像以一个新的时间顺序来表达，小说才出现：物体只以零碎的方式呈现给摄像机，因此由观众自己的主观联想来解释。这是因为不可能对建筑物进行全面的观察，才触发了这一神奇的景象。

For a while it is necessary to forget the appearance of the totality of the object and refer only to a series of fragments/images. The images recall the corridors of monasteries, as much as their rooms with limited connection to the outside, and the anonymous views of a desolated landscape from above. In the middle, the unlikely presence of a black, monolithic block, autonomous and seemingly self-referenced. The camera can do nothing but document what is already there -until now there is no possible fiction. It is only in the process of montage, where images are articulated in a new temporal order, that fiction appears: the object is presented to the camera only in a fragmented fashion, and therefore construed by the viewer's own subjective associations. It is due to the impossibility of a totalizing view over the building that the uncanny is triggered.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

相对于立体图，它将一个物体的多个面缩小为一个单一的图像，场景显示为一个对象，其碎片被一个地显示出来，按照一个序列，产生一系列的图像，如果不是通过自己的蒙太奇过程，建筑就无法说话。而拍摄的解构，又是通过对拉昆扎的书信的叙述重新组合起来的。但在这一努力中，建筑仍然无法作为一个整体被识别：如果观众想要这样做的话，仍然需要观众把它重建成一个完整的实体。这样，这个物体就被虚构的东西拆开了。

In opposition to the cubist picture, which narrows down the multiple faces of an object into a single image, the scenography is shown as an object whose fragments are shown one by one, in a sequence that engenders a series of images of which the building is unable to speak, if not through its own montage process. What the shooting deconstructs, in turn, is afterwards reassembled by the narration of Lacunza’s letters. But in this effort the building is still not recognizable as a whole: it remains for the viewer to reconstruct it as a complete entity, if he or she wishes to do so. The object has been thus dismantled by fiction.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

建筑物的形态质量是原型类型和技术要求混合的结果，这些技术要求允许摄像机感知这些特征。然后，这座建筑只不过是图像的构造和显示的方式：它本来是要在固定的飞机和旅行中拍摄的，它的测量是由想要的飞机的持续时间以及摄像机沿着小车轨道滑动的速度来提供的。场景的大小是几何和时间系统的结果。

The morphological qualities of the building are a result of a mixture of archetypal typologies and the technical requirements that allow for these features to be perceived by the camera. The building is then no more than the construction of an imagery and the way it can be shown: it was meant to be filmed in fix planes and travellings, and its measurements were provided by the duration of the desired planes, as well as by the speed in which the camera slides along the dolly tracks. The size of the scenography is the result of a geometric and temporal system.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

这座建筑的第一层让人联想起修道院走廊的特点，将这些走廊作为世界与流亡之间的中介空间。在二楼，隐居的气氛是通过周围的高墙和被控制的外部视野来追求的，这两者的结合再次暗示着修道院的卧室-甚至是监狱。总之，严格的禁欲主义精神在这里被建筑物召唤出来了。

The building’s first floor evokes the features of the corridors of a monastery, taking these as the space that mediates between the world and exile. In the second floor, the atmosphere of seclusion is pursued by way of high surrounding walls and the controlled views of the outside, the combination of which alludes, again, to monastic bedrooms -or even the prison. Altogether, the well-measured spirit of asceticism is here conjured up by the building.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

一个人可能从建筑物的顶部所经历的，与所有行动中最具诗意的行动相呼应：4世纪在中东实施的禁欲主义实践。就像施泰莱人赛蒙(Symeon)一样，他在沙漠中建造了自己的塔，这样他就可以生活在世界与废弃之间的极限中。这座建筑将摄像机与地面分开，将它与遥远的景观、海洋和地平线连接起来，将视线指向那里，那里既没有世界，也没有物体，也没有生命。从外部或远处看，结构的整体形式在景观中是一个不稳定的块体。由于它的几何形状和大小与它所处的地方不完全相同，所以它的形状和大小是不稳定的，因为这座建筑已经与一个不再是原点的地方疏远了。

What one may experience from the top of the building echoes what is perhaps the most poetic of all actions ever undertaken: the 4th Century ascetic practices carried out in the Middle East. Just like Symeon the Stylite, who built his tower in the desert so he could live in the limit between the world and its abandonment, the building separates the camera from the ground linking it to the distant landscape, sea and horizon, directing the view towards there where there is neither world, nor objects, nor life. Seen from the outside or from far away, the monolithic form of the structure is presented as an erratic block in the landscape. Erratic, insofar as its geometry and size relate to a place which is not quite the one where it is located, for the building has been estranged from an origin that is no longer.

 © Alfredo Thiermann Riesco

C.阿尔弗雷多·蒂埃曼·里斯科

在这个非属地化的过程中，这个结构强化了隐喻和文字，先是被自然洪水包围，后来又被火烧毁。对于遗弃世界的意象的建构，只是在一个短暂的维度上是有意义的。作为一个建筑对象，剩下的就是它的建筑经验，它的电影记录，以及它被摧毁的记忆。激发这一过程的执迷并不是创造一个物体，而是它的结构所提供给参与其中的人的一切。

Reinforcing metaphor and literality in this process of deterritorialization, the structure was first surrounded by the site’s natural flooding, and later set on and destroyed by fire. The construction of the imagery of abandonment of the world only makes sense in an ephemeral dimension. Insofar as an architectural object, what remains is the experience of its very construction, its cinematographic record, and the memory of its destruction. The obsession that mobilized this process has not been the creation of an object, but everything that its construction provides to those who were involved in it. 

 Floor Plan