0、柳条的未知起源 柳条是一种天然的纤维材料，在早期文明中就已经被广泛利用了：文献记载可以追溯到5000年前。现在柳条主要被应用于手工制品，例如篮子、家具和灯具等，然而很多人并不知道这种原材料的起源和生产过程。 0、Unknown origins of Wicker Wicker is a natural fiber that has been used since the earliest civilizations: there are mentions of use of more than 5,000 years. Today, wicker is recognized primarily by artisanal products such as baskets, furniture and lamps, however, much of the population does not know its origins and the process for producing this noble raw material.

在智利，Chimbarongo小镇历来以生产柳条闻名，其产量在20世纪中期达到顶峰。如今，大量的农业用地改为种植更加有利可图的作物，这门生产艺术渐渐无人问津，再加上缺乏创新材料和公平交易的环境等因素导致了这项当地的生产活动最终消失在历史的长河中。 In Chile, wicker has historically been concentrated in the town of Chimbarongo, taking its production peak in the mid-twentieth century. Today, as a result of the conversion of agricultural land to more profitable crops, the ignorance of the population of the art for production, lack of innovation materials and absence of fair trade, to name a few factors, determines a scenario that is leading to the eventual disappearance of this productive activity in the locality.

1、将生产设备作为一种产业开发工具 我们提议为当地居民提供一种高效的工作模式，能够为工匠和柳条生产商转变成一种开发工具。 这是一种更为高效的原材料生产系统，将生产过程的各个阶段都集中在一个地方，争取减少各个生产阶段中的运输成本，为整个生产过程提供更大的能动性。 1. Productive device as a development tool We propose to deliver to the local population, a working mode inexpensive, able to transform into a development tool for artisans and producers wicker.An effective system of production of the raw material is provided, by concentrating in one place the various stages associated with the process. Thus, it seeks to reduce the movements of their different stages of production, providing greater functionality to the production.

2、调整先前生产方式的构成原则 项目的其中一个环节就是要面对讨论会中提出的规模和执行时所需要的资源之间存在的巨大矛盾。整个2013年我们都期盼这项提议能够被基金会审核通过，但是项目没有获得资助，尽管其需要的成本很低。然而，由于我们先前提出的建设性的方法，最终还是实现了低成本生产。 2. The rearrangement of the pre-existent as constitutive principle One of the principles of the project stems from confrontation to a definite paradox between the meeting of the dimension of the problem and the resources available to carry out the proposal. During 2013 postulate this proposal through public funds; however the project was not selected for funding, despite its small monetary cost. However, thanks to the initial constructive approach and low cost materialize achieved.

当时我们提出建议，将基地中资源的利用，例如种植、生产过程和柳条等分为自然生产和人工制造。 At that time we proposed principle, the use of the resources at our disposal site such as cultivation, production process and wicker, which can be divided into natural and artificial (manufactured).

自然生产：我们利用柳条快速的生长特性以及通过密植和疏植创造疏密不同的空间的方式在基地在生产的同时还展示着当地的文化符号。人工制造：我们为了重振柳条生产工艺,在其生产的各个阶段都做了调整和改善。为此，需要一条沟渠(堆放柳条)，一个网球场大小用来干燥柳条的场地和一个能够进行筛选处理和储备的无障碍平台。这些基础设施(平台、沟渠和场地)使整个生产链都集中在一个地方。 From the Natural: We took one of the properties of the culture, defined by the explosive growth of the natural fiber during the year and their ability to form temporary full and empty spaces, through cultivation. From the Artificial: We rescue wicker production process in its various stages of development. To this end, it requires a ditch (damming wicker), a tennis drying and obstacle free platform capable of carrying out the processes selected and stocked. Thus, the fundamental elements (platform, ditch, and tennis) were built, concentrating the entire production chain in one place.

3、不稳定体/动态的空间 静体可以被定义为在平衡状态时的物理性质不随时间变化而变化，不变形，并保持静止或匀速运动。相反，不稳定体可以被定义为物体自身的条件和特点不断变化。因此，一个不稳定体通过拥有对未来事件不确定原则的静态结构，随时间流逝，去寻求动态。 3. Unstable Body / Dynamic Spaces A static body could be defined as a state in equilibrium when the physical characteristics do not change with time, when not deformed, and remains at rest or moving with constant velocity. In contrast, an unstable body could be defined as one who suffers changes in their conditions and characteristics continuously. Thus, an unstable body seeks to provide through a static structure, dynamic over time, which has the indeterminacy principle of future events.

4、时钟/原理 Guilles Ivain在1985年说："建筑是阐述时间和空间模式的最简明的方式。 这项提案旨在表述时间和空间，我们可以通过柳条及其由于不同的限制而影响空间的相关生产方式的变化看到时间的流逝和四季的变换。就像是一个时钟，通过他们在现实中发生的参数变化，创造出各个时期不同特点的几何空间，由此可以看到现实生活中时间参数的变化。 4. Clock / Mechanism "The architecture corresponds to the simplest of articulating time and space mode." Guilles Ivain 1985. The proposal seeks to articulate time and space, so to behold the passage of time through the formal changes of wicker and its associated processes, which have an impact on the space through different limits. Like a clock that through their hands looking determined by a parameter changes that occur in reality, the proposal seeks through its various geometric shapes the actual determination of various periods subject to spaces with different qualities.

5、临时的阶段可以转变成不同的空间特征 阶段0：五月，柳条的收获季节 在五月份，将不同季节收割的甘蔗棒捆绑成“表盘”。. 阶段1：五月、六月、七月，收获和堆放 收割完后，人们将枝条在基地上沿着水摆放成一个圆形，这是为了让它们获得充足的水分，以便在3、4月之后剥皮再生。 5. Temporary Phases translated into different spatial characteristics Phase 0: May. Harvest Court and Wicker. During the month of May, different seasonal cut cane rods, tying in so-called "meters". Phase 1: May, June and July. Harvest + damming. When cutting fiber, twigs are arranged in a trench with water, creating a circular edge. The damming aims regrowth after 3-4 months to collaborate to post debarking.

阶段2：十月，堆放的柳条再生 柳条开始慢慢发芽，枝条的颜色也开始从红色向绿色转变。这样的转变表示这些柳条已经满足了剥皮的要求。 阶段3：十一月。剥皮和干燥 一些退休后的老人可以通过为柳条剥皮赚取额外收入，这是一个手动剥皮机。柳条被集中放在一个场地上晒干，并排列成矩形向着平台旋转。 Phase 2: October. Damming regrowth.Wicker tied sprout changing its color from red to green. Thus the rods meet their process to become debarked. Phase 3: November. Debarking + drying. Postretirement of damming wicker, this is a manual debarking machine. Wickers are arranged on the court drying forming a square rotated relative to the platform.

阶段4：十二月到一月，选择/收集 当这些枝条被晒干之后，人们就会对它们进行筛选和打包，并堆放在平台上。 阶段5：二月到四月，柳条自然生长 随着柳条的生长会形成中间中空的造型，源于当地圆形边界的文化符号。 Phase 4: December – January. Selected / Gathering.Once the rods are dry, they are selected and assembled in bundles, which are stockpiled in and out of the platform. Phase 5: February – April. Natural Crop Growth. As the wicker grows, is the central vacuum forming device determined by the circular boundary culture.

建筑设计：Normal Architecture Studio / Domingo Arancibia 项目位置：智利奥希金斯，Chimbarongo，Chimbarongo 总建筑师：Domingo Arancibia 项目团队：María José Araya, Juan Basch, Alexis Quinteros, Stephan Puschel. 项目面积：79.0 平方米 项目时间：2013 摄影：Pablo Casals Aguirre 合作者：Felipe Arrau, Jorge Castillo, Heriberto Castillo, Pablo Casals, Alejandro Cordero, Miguel Ortega, Osvaldo Sandoval, Luis Quezada, Jorge Sandoval, German Sandoval, Gonzalo Ortega, Aldo Muñoz, Julio Zepeda. 模型制作：Jose Contreras 农业工程师：Diego Kirberg Sermini 家具陈设：Steven Banken Architects: Normal Architecture Studio / Domingo Arancibia Location: Chimbarongo, Chimbarongo, O'Higgins Region, Chile Architect In Charge: Domingo Arancibia Project Team: María José Araya, Juan Basch, Alexis Quinteros, Stephan Puschel. Area: 79.0 sqm Year: 2013 Photographs: Pablo Casals Aguirre Collaborators: Felipe Arrau, Jorge Castillo, Heriberto Castillo, Pablo Casals, Alejandro Cordero, Miguel Ortega, Osvaldo Sandoval, Luis Quezada, Jorge Sandoval, German Sandoval, Gonzalo Ortega, Aldo Muñoz, Julio Zepeda. Models: Jose Contreras Agricultural Engineer: Diego Kirberg Sermini Furniture: Steven Banken

本文来源于：http://www.archdaily.com/ 译者：范偲慧