© Francisco Ibañez

弗朗西斯科·伊巴涅斯

架构师提供的文本描述。我们的任务是用四个20英尺的容器建造一个画廊。这个想法是在3天内，在智利圣地亚哥市的一座标志性建筑前安装一个展览。

Text description provided by the architects. We had the assignment to build a gallery by using four 20-foot containers. The idea was to install, during 3 days, an exhibition in front of an iconic building from the city of Santiago in Chile.

 © Francisco Ibañez

弗朗西斯科·伊巴涅斯

它们为我们的工作提供了四个先决条件：

They gave us four prerequisites on which to base our work:

1.模块：四个20英尺长的集装箱。

1.- Module: four 20-foot shipping containers.

2.-时间：临时期限。

2.- Time: temporary duration.

3.-方案：展览。

3.- Program: exhibition.

4.地点：新文物与城市标志性建筑之间的对话。

4.- Place: dialogue between the new artefact and an iconic building of the city.

4集装箱装配时间展览与城市符号对话=新工艺品

4 containers + assembly time + exhibition + dialogue with urban symbol = New Artefact

 © Francisco Ibañez

弗朗西斯科·伊巴涅斯

通过使用一个完整的模块的想法，我们定义了他们之间的相遇系统，比如乐高片。主要单位为6.00x2.50m。任务是在这4个模块之间建立联系，以便在有限的时间内组装和拆卸这些模块，以及这些模块如何协同工作，如何与其城市环境相联系。此外，该品牌的一些元素也被展示在里面。

With the idea of working with a complete module we defined a system of encounters between them, like Lego pieces. The primary unit was a volume of 6.00 x 2.50 x 2.50 m. The task was to establish a link between the 4 modules, in order to assemble and disassemble them during a limited time and how these modules, working together, could relate to its urban context. In addition, a number of elements from the brand were displayed inside.

 Floor Plan

展览的四个时刻在每个容器中突出显示。这样，每个独立的单位，就完全理解了整个电路。在艺术品的第一级，有2个集装箱安装为“L”形。半个模块被划分为包含另一个“L”，在第二层以相反的方式放置，以便在建造的卷之间留下自由空间。

Four moments of the exposition were highlighted in each container. In this way, each independent unit, was understood completely by following the entire circuit. In the first level of the artefact, 2 containers were installed in an “L” shape. Half a module was divided as to contain the other “L”, placed in the opposite way in the second level, in order to leave free spaces between the built volumes.

 © Francisco Ibañez

弗朗西斯科·伊巴涅斯

通过集装箱之间形成的空洞，人们可以看到MAC(圣地亚哥的Contemoráneo Museo de Arte Contemoráneo)美丽的立面。因此，集装箱的拼装方式、建造物与它们之间的空间之间的关系，揭示了画廊与城市环境之间的联系。通过这种方式，艺术品被周围的环境所融合，成为一个空间元素，具有不同的深度，可以通过形状和空腔来识别。

Through the voids formed in between the containers, one could see the beautiful façade of the MAC (Museo de Arte Contemporáneo of Santiago).So, the way in which the containers were put together and the relation among what was built and the spaces that were left between them, revealed the link between the gallery and its urban context. In this way, the artefact was incorporated by its surroundings, becoming a spatial element, with different depths, recognizable by its shape and cavities.

 © Francisco Ibañez

弗朗西斯科·伊巴涅斯

这件艺术品的唯一目的是在那里停留一段有限的时间，这些仅仅是把一个放在另一个上面的盒子吸引了过路的人-为了破坏日常生活，邀请他们去探索它。

This artefact, whose only intention was to be there for a limited time, these boxes that were simply assembled one on top of the other, attracted the passers-by to penetrate them in order to disrupt everyday life in an invitation to explore it.

 © Francisco Ibañez

弗朗西斯科·伊巴涅斯

Architects Arquitectos Asociados.lo

Location Santiago, Santiago Metropolitan Region, Chile

Category Showroom

Architect in Charge Eduardo Labra B., Diego Ortuzar F.

Area 60.0 sqm

Project Year 2014