普曼克社區(qū)中心，普曼克，智利

建筑設(shè)計(jì)：稀缺與創(chuàng)意工作室

1 外景/Exterior views

作為大型鄉(xiāng)村莊園所在地的普曼克擁有豐富的殖民地遺產(chǎn)，成立于17世紀(jì)，被2010年2月27日凌晨03∶34的地震嚴(yán)重破壞。地震摧毀了大部分房屋及其外部走廊，還有圣母玫瑰教堂和市政府大樓。2013年，稀缺與創(chuàng)意工作室受邀協(xié)助重建該鎮(zhèn)。該鎮(zhèn)位于智利中部，圣地亞哥西南150km處，擁有3500名居民。

地震發(fā)生后不久，一個(gè)叫做Chile a So?ar（智利，讓我們夢(mèng)想?。┑姆菭I(yíng)利組織搬到普曼克，其成員是大學(xué)生和畢業(yè)生。他們希望通過社會(huì)工作，教育和社區(qū)組織幫助這個(gè)被蹂躪的城鎮(zhèn)。因?yàn)樵摻M織的工作是在假期期間開始的，因此當(dāng)時(shí)他們被允許使用學(xué)校進(jìn)行活動(dòng)。然而，一旦假期結(jié)束學(xué)?；謴?fù)正常使用后，那些經(jīng)過培訓(xùn)的人就失去了可以練習(xí)新學(xué)技能的場(chǎng)所。因此，該組織需要一個(gè)可以全年開放的多功能社區(qū)中心。

在2013年下半年和2014年上半年，稀缺與創(chuàng)意工作室設(shè)計(jì)并建立了一個(gè)社區(qū)設(shè)施，以滿足普曼克居民和Chile a So?ar組織的需求。

2014年初，普曼克市政府捐贈(zèng)了一個(gè)場(chǎng)地用作社區(qū)中心。該場(chǎng)地毗鄰一所廢棄的女子寄宿學(xué)校，這里很快將轉(zhuǎn)變?yōu)榻?jīng)濟(jì)發(fā)展中心。在施工期間，前女子學(xué)校被用來容納稀缺與創(chuàng)意工作室的建筑團(tuán)隊(duì)。

該項(xiàng)目包括兩個(gè)多功能廳，它們都需要從一個(gè)可以進(jìn)行各種社區(qū)活動(dòng)的公共露臺(tái)進(jìn)入。建筑物外墻被一層木質(zhì)屏風(fēng)墻所包裹，它緩和了強(qiáng)烈的陽光并提供了空氣對(duì)流。首層之上是屋頂露臺(tái)，在這里可以眺望遠(yuǎn)處的風(fēng)景。這個(gè)空間被設(shè)想成一個(gè)可以讓孩子一邊在屋頂玩耍，而他們的父母可以同時(shí)在樓下進(jìn)行活動(dòng)的場(chǎng)所。為了鼓勵(lì)屋頂露臺(tái)上的活動(dòng)，專門設(shè)置了兩個(gè)樓梯通往露臺(tái)，還有一個(gè)滑梯通向地面。（齊軼昳 譯）

2 外景/Exterior views

Founded in the 17th century as the seat of a large country estate Pumanque had a rich colonial heritage until it was heavily damaged by the earthquake of 03:34 am on February 27, 2010,which destroyed most of the houses and their external corridors that lined the town's streets. The quake did not make exceptions, also destroying the church of Our Lady of the Rosary and the Municipality buildings. In 2013 The Scarcity and Creativity Studio was invited to help in the task of re-building the town, which is located in central Chile, 150 kilometres south-west of Santiago and has 3500 inhabitants.

Shortly after the earthquake a not-for-profit organisation, whose members are university students and graduates, called Chile a So?ar (Chile,let's dream!) moved into Pumanque with the purpose of helping the ravaged town through social work, education, and community organisation.As the work of Chile a So?ar took place during holidays they were allowed to use the school for their activities. However, once the holidays were over the school reverted to normal use, leaving those that had been trained with no place to practice their newly acquired skills. What Chile a So?ar needed was a multi-purpose community hall which remained open during the whole year.

During the latter half of 2013 and the first half of 2014 The Scarcity and Creativity Studio designed and build a community facility to satisfy the needs of both the people of Pumanque and those of Chile a So?ar.

At the beginning of 2014 the Municipality of Pumanque donated a site for the location of the community centre adjacent to a disused girls boarding school, soon to be converted into an economic development centre. During construction, the previous girl's school was used to accommodate the Scarcity and Creativity Studio's construction team.

3 總平面/Site plan

4 平面/Plan

5 隨時(shí)間變化的陰影/Shadows over time

6 隨時(shí)間變化的陰影/Shadows over time

The project consists of two multi-purposeful rooms accessed from a common entrance terrace in which diverse community activities can take place.The building is wrapped in a timber screen-wall which mitigates the strong sun and allows for cross ventilation. Over the ground floor is a roof terrace shaded by an auxiliary membrane canopy. The terrace is an outdoor room with views of the distant landscape. It is conceived as a space where children can play while their parents are engaged in activities below. To encourage play two stairs up to the terrace and a slide down to the ground are provided.

項(xiàng)目信息/Credits and Data

教職人員/Teaching Staff: Christian Hermansen Cordua,Michael U. Hensel, Solveig Sandness, Joakim Hoen, Haakon Matre Aaser?d

學(xué)生/Students: Harold Vermeiren, Christiana Thorsen Clarke, Margarita Chaskopoulou, Marte Guldvik, Marina Haga, Jonas Osthagen Hamar, Anniken H?gset, Shohreh Kheirati, Kaja Gladhus Kolstad, Kamilla Merete Kristiansen,Gro Krüger, Caroline Krenc, Taavi L?oke, Ranveig Hesselberg Meland, Annette Katherine Mohr, Eskil Fr?yen Nyb?, Liv Mari Oppeb?en, Brianne Parquier, Elissavet Pertigkiozoglou, Randi Ravndal, Erik Reiten, Kinga Rusin,Truls Schiefloe Sandbakk, Hedvig Margrethe Sanderud,?istein Magnus Schive, Eirik Stiansen, Gustav Mattias Jitzhak Tellqvist, Magnus V?gan

贊助商/Sponsors: AAAD, Astrup & Hellern Architects,Halvorsen & Reine Architects, IARK, Marwin, NORDIC Office of Architecture, ?KAW, Norwegian Steel Assocication,Ratio Architects, Vink AS

繪圖/Drawings: The Scarcity and Creativity Studio

攝影/Photos: The Scarcity and Creativity Studio

7 外景/Exterior views

8 外景/Exterior views

評(píng)論

肖毅強(qiáng)：這是一個(gè)具有清晰而精明解決方案的設(shè)計(jì)。建筑的布局與場(chǎng)地原有的樹木互動(dòng)，自然地引導(dǎo)出可以穿越建筑兩側(cè)的幾個(gè)出入口。建筑的周邊環(huán)境和屋頂空間被升起的拉膜結(jié)構(gòu)“帳篷”所激活，營(yíng)造出可以聚集或漫步的活動(dòng)可能。采用單跨木結(jié)構(gòu)的建筑，其標(biāo)準(zhǔn)模數(shù)控制下的結(jié)構(gòu)單元、維護(hù)構(gòu)造及門窗開口等體現(xiàn)了產(chǎn)業(yè)化意識(shí)下的設(shè)計(jì)水平。建筑的立面和屋面均附加了木格柵表皮，形成了遮陽和與維護(hù)結(jié)構(gòu)的空氣層，積極地回應(yīng)了當(dāng)?shù)貜?qiáng)烈陽光的氣候條件。拉膜結(jié)構(gòu)的“帳篷”無疑是具有文化意味的處理，不僅提示了上部屋面空間的存在，還強(qiáng)化了社區(qū)中心的標(biāo)志性場(chǎng)所的定位。簡(jiǎn)單有效的結(jié)構(gòu)、材料、技術(shù)實(shí)現(xiàn)了具有社區(qū)文化意義的場(chǎng)所塑造。

宋曄皓：普曼克社區(qū)中心建筑具有一種臨時(shí)性建筑特有的氣質(zhì)，不論是斑駁的兼具遮陽和通風(fēng)功能的木墻，還是屋頂平臺(tái)上面自由飄逸的張拉膜，甚至很多建筑細(xì)部的處理手法，例如木質(zhì)樓梯的做法，或者張拉膜節(jié)點(diǎn)的做法。而這種隨意率性的氣質(zhì)，實(shí)際上與建筑的使用需求非常吻合，就像個(gè)社區(qū)舞臺(tái)，人們可以隨意出入或者爬上爬下，不論在地面屋頂，也無論成人還是兒童，都像是風(fēng)景本身風(fēng)景的人：人既是風(fēng)景的欣賞者，也是風(fēng)景的組成部分。這種自由流動(dòng)性的便利，以及因此的人們的快樂，的確應(yīng)該屬于社區(qū)舞臺(tái)樣的臨筑，普曼克社區(qū)中心完美地做到了這一點(diǎn)，成區(qū)不可分割的部分，可以想象這個(gè)建筑比很多去永久的建筑會(huì)更加受到社區(qū)人們的歡迎。

9 遮陽膜的計(jì)算/Membrane calculations

10 剖面/Section

Comments

XIAO Yiqiang:This is a design solution with clarity and smartness. The architecture layout interacts with the existing trees on the site, and naturally stretched out a few entries on both sides of the building. The surrounding environment and roof space of the building are activated by the membrane canopy,creating a possibility for gathering and walking around.As a building with single span timber structure, the structural unit, envelope and openings, as a result of standard module design, reflect a design level under the consciousness of industrialisation. The timber screen wall and timber grid roof built a mitigating layer for sun-shading and enclosure structure,positively responding to the strong sunny climate. The membrane canopy is obviously a design with cultural implication, which not only suggests the existence of the rooftop space, but also landmarked the location of community centre. Simple and effective treatment of structure, material and technology made it a place that is significant in community culture. (Translated by WANG Xinxin)

SONG Yehao:The Pumanque Community Centre has a unique character which only belongs to temporary buildings.Whether it is the mottled screen-wall with both shading and ventilation function, or the free-flowing tensioned membrane on the roof terrace, and even some details such as the wooden stairs and the tensioned membrane nodes,they all reflect the specific ethos of the building. This kind of character is actually in line with the needs of the building. It is like a stage of the community where people can go in and out or climb up and down. For adults and children, whether on the ground or on the roof, they are themselves both part of the fascinating scene and who enjoy the scenery - people are both viewers of the landscape and an integral part of the landscape. Only temporary buildings which serves as the community stage could provide both the convenience of the free mobility and the happiness that it brings to people. The Pumanque Community Centre has done this perfectly and has become an inseparable part of the community. Thus,we can imagine that this building is more popular with people in the community than those permanent buildings.(Translated by QI Yiyi)