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Dislocal：“图尔比奥河（Turbio）是一条灰烬之河，一条灰色的河流。河流表面布满灰尘，呈颗粒状。在它的河壁上，可以看到一层又一层的矿物沉积物：粘土、石英方解石和长石。更新世的地壳里面是一个干旱的峡谷，一道如同被雕刻的沟壑中隐隐流淌着水流，并在其中汇聚成一条细流。水流不大，平静而恒定，只在偶尔间爆发出强大的力量来证明自己的存在。在这表面的宁静之下，另一条“生命之河”埋藏于地下。河谷隐藏着自己的生命迹象，就像一只休眠的怪兽。
从外观上看，这俨然是一片田园风光，亦或是一片假的平原，两侧是一座小山和一大片高原。Caquetíos 和 Jiraharas 分别是两座山谷，一座蛮荒而温顺，另一座有人居住却又空旷。一片草原和查瓜拉莫斯（chaguaramos）的一座小岛位于两条支流的交汇处，四周的洼地常泛洪水。山谷中有一座制糖厂，土壤中焚烧过的煤渣和甘蔗的烟尘穿过城市，过去依然萦绕在人们的记忆中。如今这里仅剩下残垣、废墟和遗迹。一条环绕的边界、一条连接又分离的道路、脆弱的河床、一个重建三次的城市坐标、一个与之相对的定居点…..共同诉说着场地的历史、人类和自然。”
Dislocal：”The Turbio is a river of ashes, a grayish river. Its skin is dusty and granular. On its walls, layers upon layers of mineral sediments can be seen. Clay and quartz. Calcite and feldspars. Pleistocene crusts. Inside, it is an arid canyon. A carved gully, where the visible water forms thin currents. Waters with little flow, calm and constant, which occasionally assert their existence with bursts of strength. Beneath this apparent tranquility, another river hides underground. Turbio conceals its vital signs like a dormant monster.
On the outside, it’s a bucolic landscape, a pseudo-plain, flanked by a hill and a large plateau. Caquetíos and Jiraharas. A wild and tamed valley, an inhabited and empty valley. A savannah. An island of chaguaramos. The meeting of two tributaries. Depressions and floods. A sugar mill. Traces of coal in the soil and soot from sweet cane. Ashes that traveled through the city and still linger in memory. Debris, ruins of the past, remnants. Sand and gravel mines. La Ribereña, an encircling border. A road that unites and separates. Fragile beds. Coordinates of a city that died three times in its founding attempt. A settlement with its back turned. The legend of Tirano Aguirre. History, human beings, and nature.”
开辟道路 Building the Path
在穿越山谷的过程中，我们从这个地方了解到，在时间的长河中，水的多样性凸显了水作为土壤和社会动力变革因素的价值。从对田园风光的沉思体验，到对资源的生产性和探索性观察，再到徒步穿越河床盆地的团队旅行，我们就像自人类文明诞生和城市出现以来所做的那样，在这片“灰烬”之地上，展开了最原始的探索。
While traversing the valley, we learned from the place whose diversity highlighted the value of water as a transformative agent of soils and social dynamics over time. From the contemplative experience of a bucolic landscape, through the productive perspective and resource exploitation, to the opportunity to travel on foot and in groups through its basin, as has been done since the beginnings of civilization at the origin of cities.
我们在山谷中找到了一条道路：土著之路，一条早在殖民时期以前，曾经统治这片土地并在这片土地上建立了第一个城镇和农业地籍的民族所走过的道路。从圣丽塔庄园（Hacienda Santa Rita）所在的塔拉巴纳大草原（Tarabana savannah），到图尔比奥河（Turbio）和克拉罗河（Claro）的交汇处，这条路绵延 1.5 公里。我们将沿着山谷祖先曾经修筑的道路，在这里再次开辟新的“道路”。
我们沿着泥土小路两侧实施了六项干预措施，它们全都基于一个共同的理念：邀请人们驻足沉思、停留、休息，而后继续沿着小路前行，用心去感悟这片古老的土地。
We identified a path within the valley: The Indigenous Path. The path of routes traced by the peoples who once dominated the land and created the first land registry of this territory, with cities and agriculture, long before the colonial era. A 1.5 km path from the Tarabana savannah, where the Hacienda Santa Rita is located, to the confluence of the Turbio and Claro Rivers. Where the valley’s ancestors had built before, we build again.
Six interventions that are part of a common idea, located along the dirt path, invite you to pause, contemplate, and linger, to rest and then continue the journey, to reflect on the place.
01 手杖 Canes
“手杖”是一组由木材搭建的装置，其设计旨在通过装置的形态与景观产生互动，这些形态增强了地域的场所感，并通过记忆的融入变得具有重要的概念意义。
We interact with the landscape through primary gestures that enhance certain situations of the place and can become conceptually significant through memory.
我们认为，该方案体现了当地建筑的最初形态，即建筑思想的最初实践结果。该装置如同景观中的一幅图画，描绘了图尔比奥山谷的现状，以及在其相当长的一段历史时期内，经过殖民化和随后单一的甘蔗种植生产，图尔比奥山谷所经历的变革过程。
We like to think that the proposal contains the first gestures of what was built in the place, the initial actions of architectural thought. A drawing in the landscape that seeks to speak about what exists and about the processes of transformation of the Turbio Valley through colonization and the subsequent production of sugar cane monoculture for a significant period of its history.
这些装置元素被当作地标组织在景观中，从远处看，它们相互支撑，彼此提供阴凉，并最后被大火焚毁。它们再现了一段不合理的土地开发历史，同时也反映了一个离城市（巴基西梅托）如此之近，却又在物理和文化上相互分离的地区的发展可能性。
These elements organized in the landscape as landmarks that reinforce each other to be perceived from a distance, providing shade and, at the end of the day, are destroyed by fire. They recreate a history of irrational land exploitation but also serve as a reflection on the possibilities of a territory so close to the city (Barquisimeto) yet separated physically and culturally.
02 巢 Nest (Opus)
一根桅杆随着制糖厂的钢铁高高升起，犹如一道指针。锈迹斑斑的金属废弃品不再压榨甘蔗渣，制糖厂曾经的繁荣已经消失。一个向上的“指针”引导着人们去追寻那些迷失于地平面上的东西。图腾柱是我们存在的神秘和历史象征，是地标，也是一种迎接的仪式。
前西班牙时期山谷中的马波拉（mapora）纪念碑告示我们，整片土地曾经种植甘蔗，而在此之前，那里曾是一片森林。奎巴斯人（Cuibas）的森林，被他们的农业“杀死”了。
A mast rises with the steel of the sugar mill. The rusted metal ruins no longer crush the bagasse. A compass to look up invites you to pursue something lost on the horizon. The totem is a mystical and historical symbol of our presence, as a landmark, and as a welcome.
A remembrance of mapora in the pre-Hispanic valley reminds us that the entire land was once planted with sugar cane, where there was once a forest. The forest of the Cuibas, killed by their agricultural predator.
从空中俯瞰，一块正方形的场地上刻画出一个圆、一条直线和一点。地面上印记的形状简单、纯粹、集中，旨在建立人类与环境之间的平衡。农业中的几何世界观、土地生产的地块结构及其耕作的经验秩序，全都体现在这 9 x 9 米的空间之中。我们学习用身体、感官和简单、基本的工具来测量建筑。
A circle inscribed in a square, a straight line, a point. Marks on the ground. Basic, pure, and centralized shapes that seek to establish a balance between humans and their environment. The geometric worldview of agriculture, the parcel structure in land production, and its empirical order, 9 meters by 9 meters. We learn to measure architecture with our bodies, our senses, and simple, rudimentary tools.
构建虚空，一个用篾条和木棍搭建的巢穴。这是一件与优美风景对话的作品，在这里，我们所谓的“作品”体现为材料的简单排列方式。我们用树叶、粘土和石头来建造结构；用植物来编织立面，由此可以过滤光线，创造阴凉。结构中有一堵由现代砖块砌筑而成的墙，它既脆弱又坚毅；还有一块被河水冲刷洗蚀的石头，作为新石器时代的元素参与其中。古与今的对话之间阐明了一个亘古不变的道理，时间流逝，万物衰老，一切都将消失。
这是前往图尔比奥河途中一个意想不到的休息空间，就像一座寺庙（源自拉丁语“templum”，意为神圣之地）。这是一座融合现实与想象的建筑，科学、艺术和美德在此孕育，建筑本身就是一种栖居于山谷中的信仰。
Building the void. A nest of gamelotes and sticks. A pavilion that pays tribute to the beauty of the landscape, where what we call “work” is better understood in the idea of “Opus,” that is, the simple way in which materials are arranged in masonry. We build with leaves, clay, and stone. A vegetal weave that filters light and creates shade. A wall of bricks, fragile and stoic at the same time. A stone, sculpted by the river’s current, participates as a Neolithic element that was already there, near the water, on the side of the buco. Time advances, everything ages, and everything will disappear.
A rest on the way to Río Turbio. An unexpected space that resembles a temple. From Latin “templum,” meaning a sacred place. A real or imaginary building where science, art, and virtue are cultivated. The virtue of inhabiting the valley.
03 河床 Riverbed
在通往水边的小路尽头，我们决定从四个概念（方向、停顿、阴凉、连接）出发，对景观元素进行解读和重新编排。我们在河床上创造了一个“缺口”，打破了现有的视觉和物理关系，定义了通往图尔比奥河的门廊。
Located at the end of the path to the water, we decided to read and recode the elements of the landscape, starting from these four concepts. We created a gap that breaks the existing visual and physical density to define the vestibule to the Turbio River.
我们在此留下足迹。通过这些干预行动，通往河流的路线变得清晰可辨，我们营造出一种场域感，并在有树荫的空间中停顿下来，思考眼前的风景。
我们倾向于从即时性中创造永久性，同时反思景观、地方和人，以合理有效的方式将各种运作模式结合起来，并保持所需的环保和美学道义。
We left footprints. Actions that allowed us to make the route to the river readable, creating a sense of location in the place, with shaded spaces and pauses to contemplate the immediate landscape.
We were interested in creating permanence from immediacy, while reflecting on the landscape, the place, and its people, uniting the ways of operating logically and efficiently and preserving the desired ethical and aesthetic charge.
图腾、休息区、小桥和台阶之间的连接一切都有迹可循：使用不同类型、形状和尺寸的木材；沿着道路一侧的边界线实施；融入当地的材料。
The Totem, the sitting areas, the bridge, and the steps are traces connected by:
The use of wood in various types, shapes, and dimensions.
The boundary line that accompanies one side of the path.
The incorporation of local materials.
在景观方面，我们制定了以下策略：营造空旷感；强调色彩和高度的对比；突出纤细感，体现草地的细腻；保持视觉连续性元素的节奏感。
通道的设计语言完全取决于每种材料的原始状态、它们的构造质量、它们的转化可能性以及其协同作用的能力。这些想法让我们在团队合作时能够遵循基本的逻辑。
In the landscape, we considered strategies to:
Create the void as a projection of the straight line that precedes the place.
Create contrast through color and elements of height.
Accent and slenderness, translating the thinness of the grass.
Rhythm, as an element of visual continuity.
The language of the channel is determined solely by the original condition of each material, their construction qualities, their transformation possibilities, and their ability to work together. Ideas that allowed us to work with elementary logics at the time of team assembly.
04 长凳和树 Cují and Araguaney (Bench and Tree)
我们用木头和旧糖厂残存的结构制作了一张优雅的长凳，向倒下的树木致敬。长凳让尘封已久、被人遗忘的树干有了用武之地，木头和钢铁，这些建筑材料曾被广泛用于乡村工业建筑之中……
A graceful bench is constructed from a fragment of a wooden trunk, a survivor of the old sugar mill structure. It pays homage to the fallen tree that gave way to that piece of dusty and forgotten board… wood and iron, materials of architecture that were used to industrialize the countryside…
废旧的带肋钢筋支撑起上方的座凳，可供照顾和观察新种下的黄钟花树（委内瑞拉的国树，主要分布在温带气候地区，是一种高度可达 6 到 12 米的落叶乔木）的工人休息，另一把更加坚固和粗糙的长凳立于路边的一棵树下。树和长凳，是永远的伙伴。
The waste of ribbed bars elevates the seat for resting the laborer who will care for and watch the new tree, the araguaney tree, grow. Another, sturdier and rougher bench accompanies a cují from the path. The tree and the bench, eternal companions.
*The national tree of Venezuela is the araguaney (Tabebuia chrysantha). It is called “aravanei” by the Caribe tribe. It can be found mainly in temperate climate regions and it can reach a height between 6 and 12 meters. It is a deciduous tree.
05 教堂 Chapel
“上帝之屋”抵御着时间长河中的遗忘和意外燃烧的火焰，巍然屹立。这是一个历经时空变换的神秘多元“宇宙”，它重现了四个世纪前洛普·德·阿基尔（Lope de Aguirre，绰号“疯子”，是一名活跃于南美洲的巴斯克西班牙裔征服者，以在亚马逊河寻找黄金国的远征闻名）烧毁位于图尔比奥山谷（Turbio Valley）的第三座原生态城市的情节。这座小教堂的存在无可辩驳地证明了这种按照造物主的形象和样式建造的宇宙。
7 x 5 米的长方形平面足以标示出神的领地，无需符号或数字。5 米的高度确立了永恒的比例，一扇宽 2.30 米，高 3.50 米的门廊是一扇与外界相通的窗户。创作者俨然想到了路易·卡恩（Louis Khan）的那句话：“当他们分开墙壁，窗户出现的那一刻，美妙极了。”
Resisting forgetfulness and the flames of an accidental fire, the “house of God” stands tall. A mystical multiverse full of parallel universes revives the episode in which Lope de Aguirre burned the third seat of a proto city located in the Turbio Valley four centuries ago. The chapel is the tangible proof of such universes, made in the image and likeness of the Creator.
A rectangular plant of 7 x 5 meters is sufficient to mark the territory of the Divine, without the need for symbols or figures. The height of 5 meters establishes the proportion of the eternal. Every decision made reflects the formula of the minimal. The door measures 2.30 meters in width and 3.50 meters in height. A window to connect with the outside. Surely the creator thought of that phrase by Louis Khan: “that wonderful moment when they separated the walls, and the window appeared.”
在烟尘和野草丛的气味中，我们首先进行了清洁工作，并用合成珐琅抹去了脏乱的痕迹。满是涂鸦的墙壁经过石灰和树脂的粉刷焕然一新，而这些古老的技艺也并没有失传。我们在纸上测量了重建的尺寸，并拍摄了照片，以定格其残破之美。最后，用回收的木材和金属设计并安装了一个临时的十字架。正如圣经-创世记（2:2-3）中所言：到第七日，神造物的工已经完毕，就在第七日歇了他一切的工，安息了。
Amid the soot and the scent of the wild, we first undertook cleaning tasks and covered the marks of sacrilege with synthetic enamel. The graffiti-defiled walls were painted with lime and aloe. Old techniques that have not been lost. The land was cleared. Measurements were taken for its reconstruction on paper, and photographs were taken to freeze its ruined beauty. Finally, a makeshift cross was designed and installed using recycled wood and metal. The Bible says in the book of Genesis (2:2-3) that on the seventh day, God finished what he had done and rested from all his work of creation.
07 图尔比奥河谷之行的感官和景观体验 The sensory and landscape experience in the visit to the Turbio Valley
在与栖息地、形式、几何形状、梯田和农用水库的对话中，我们可以感受到山谷丰富的感官内涵。我们整体游览的一部分受到了不适当的开采活动的干扰，这进一步表明了我们正面临着重要河流生态基础的容忍极限。
但是，通过城市居住区和乡村之间具有社会和生物意义的景观多样性，遗产、生态和经济的价值也在山谷中得到了体现。这表明，这些景观是不断变化的社区、多元文化社区和生产需求所驱动的持续演变过程的结果。
我们来到广袤的无人居住的土地上，观察并揭示城市化景观的旨趣。城市和乡村的问题似乎总是分离的，这种对立的关系一直影响着人类的思维，也是前工业时代和现代城市留给我们的遗产。
在此行之后，我们还可以从河谷高处、边缘和腹地观察一系列的风景。但归根结底，只有两种共存的景观，它们互相位于彼此的边缘。一是传统与发展的网格状景观，另一个则是被遗弃的景观，它们没有根基，面临困难，但却与自然进程的动态和活力有着更紧密的联系，这些自然进程虽已发生改变，但其价值依然集中体现在河流、河床、等待再生的土地之中。
The valley is perceived with a rich sensory content in a dialogue of habitats, forms, geometries, terraces, and agricultural reservoirs. Part of the journey is disturbed by observing extractive activity, which is inappropriate, and we are at the limits of tolerance of a fluvial ecobase of importance.
But in the valley, you can also imagine heritage, ecology, and economy through a certain diversity of landscapes with social and biological significance between its urban settlements and the countryside. It is evident that these landscapes are a consequence of a constant evolutionary process driven by changing neighborhoods, its multicultural community, and productive needs.
We move to vast unoccupied lands where the interests in the urbanized landscape are observed and revealed. The city and the countryside seem like separate problems, the dichotomy that has always influenced human thinking, the legacy left by the preindustrial era and the modern city.
The following days invite a sequence of landscapes that can be seen from above, the edge, and the depths. But ultimately, there are only two landscapes that coexist, one on the edge of the other. The landscape of the grid, of the mesh of traditions and development, and the other abandoned landscape, rootless, overcoming difficulties but perceived with a greater connection to the dynamics and vitality of natural processes that, although altered, still have their concentrated values: the river, its bed, the land waiting for regeneration.
项目名称：Rio Turbio Valle Ribera
项目地点：委内瑞拉 巴基西梅托
时间：2023
作者：Dislocal & Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela y su Unidad Docente Extramuros
团队：Alessandro Famiglietti、Cesar Figueroa、Joao de Freitas、Khristian Ceballos、Marcos Coronel-Bravo、María-Beatríz Garcia Rincón、Ricardo Sanz
照片记录：Ángel Mendoza、Christian Da Silva、 Nathaly González
航拍：Alfredo Pineda
Nombre del proyecto: Rio Turbio Valle Ribera
Lugar: Valle del Turbio (Barquisimeto, Venezuela)
Fecha: Agosto 2023
Autores: Dislocal & Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela y su Unidad Docente Extramuros
Equipo: Dislocal en Venezuela: Alessandro Famiglietti, Cesar Figueroa, Joao de Freitas, Khristian Ceballos, Marcos Coronel-Bravo, María-Beatríz Garcia Rincón, Ricardo Sanz
Fotografía y Registro Documental: Ángel Mendoza, Christian Da Silva, Nathaly González
Fotografía aérea: Alfredo Pineda
Créditos
Nombre del proyecto: Rio Turbio Valle Ribera
Lugar: Valle del Turbio (Barquisimeto, Venezuela)
Fecha: Agosto 2023
Autores: Dislocal & Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela y su Unidad Docente Extramuros
Equipo – Dislocal en Venezuela: Alessandro Famiglietti, Cesar Figueroa, Joao de Freitas, Khristian Ceballos, Marcos Coronel-Bravo, María-Beatríz Garcia Rincón, Ricardo Sanz
Profesores de la FAU UCV: Ana G. Valenzuela (Taller X), David Méndez (UDE), Gabriel Garcia (Taller X), Glenda Yépez (Acondicionamiento Ambiental), Ingrid Regalado (Acondicionamiento Ambiental), Javier Caricatto (Unidad 00), José A. Santana (Unidad 09), Melissa Parra (UDE), Rafael Suárez-Novoa (UDE), Ramon Fermin (Instituto de Urbanismo)
Estudiantes: Adrián Rodríguez Corro, Alanis Sánchez, Alexandra Araujo, Alexari Suárez, Alibeth Gil, Alison Sabrina Medina, Ana Paula Colmenarez, Andrea Reyes, Andreina Riera, Andrés Castillo, Angie Colmenarez Navas, Angie Gimenez, Anna Vanessa Piña, Antonietta Mangiafico, Ariel Pérez, Brian Acosta, Christian Da Silva, Cindy Colmenarez, Daniel Morales-Bello, Daniela Padrón, Diana Barrientos, Diana Carrero, Dianmar Olivar, Emilia Martín Colina, Emilia Santana, Fabiana Yajure, Fátima Lucana, Gabriela Hernández, Gabriela Martínez, Gabriela Sevillano
Hamilton Pérez, Harvic Madriz, Isabel Santoro, Jaymar Daboin, Jesús Oropeza, José Escalona, José Suárez, José Vidal, Juan Martínez, Juan Ortiz, Julen Sobrevila, Katerin Nieto, Leonela Sánchez, Luis Alfredo Mendoza, Luis José Marcano, Luis Andrés Morillo, Luisana Estefanía Ortega, Manuel Villalobos, Marianne Cordero, Marielys Rojas, Maryeli Suárez, María Alvarado, María Chávez, María Eloisa Daboin, María Ramos, María Segovia, Miguel Zorrilla, Naomi Cianci, Nelson Gil, Paola Reyes, Patricia Carmona, Patricia Muñoz, Patricia Rodríguez, Rommer Colmenares, Selena Suárez, Sofía Morales, Uriel Torres Pérez, Verónica Camacho, Victor Da Silva
Apoyo Docente: Nathaly González, Noriuska Flores
Invitados especiales: Armando Villalón, Claudia Rodríguez, Elisa Silva, Félix Alberto Gíl, Franco Micucci, José Luis Sotillo, Mariela Rodríguez, Teresa Birardi
Colaboradores: Alejandro Lucero, Ángel Rojas, Bárbara De Sousa, Claudio Del Búfalo, Ennis Arce, Erilu Schell, Milagros Sánchez, Rosi Milgrom, Simon Rodriguez-Pages, Thalma Cohen
Fotografía y Registro Documental: Ángel Mendoza, Christian Da Silva, Nathaly González
Fotografía aérea: Alfredo Pineda
Dislocal Internacional – Inducción Online: César Silva Urdaneta, Daniel Otero Peña, Germán Valenzuela, Loreta Castro Reguera, Luciano Landaeta, Marije van Lidth de Jeude, Oliver Schutte
Dislocal Junta Académica: Alejandro Borrachia (Escuela Superior de Arquitectura y Diseño, Universidad de Moron), Ana Valderrama (Universidad Nacional de Rosario), Henry Rueda (Florida International University), Marcelo Ertorteguy (Florida International University), Sara Valente (Florida International University)
Dislocal con el Soporte Académico de:
Facultad de Arquitectura y Urbanismo – Universidad Central de Venezuela (UCV)
Javier Caricatto, Decano
Escuela de Arquitectura Carlos Raúl VIllanueva – FAU UCV, Filia Suárez, Directora
Unidad Docente Extramuros – FAU UCV, Cristóbal Mendoza, Coordinador
Escuela Superior de Arquitectura y Diseño – Universidad de Morón, Argentina, Alejandro Borrachia, Decano
Coordinación Estudiantil: Centro de Estudiantes de Arquitectura – FAU UCV
Apoyo Institucional: Alcaldía del Municipio Palavecino, Secretaria del poder popular para el Desarrollo Económico del Estado Lara, Gobernación del Estado Lara
Organizaciones y empresas aliadas: 2/3/4 Ateliers, 439 estudio, Barrera C.A, Biotel Suites, Domina Arquitectos, Es mas uno estudio, Ferretería Portuguesa, Fundación Bosque Macuto, Fundación Fototeca de Barquisimeto, Fundación Gorka Dorronsoro, Gorka, Hacienda Agua Viva, Hacienda Santa Rita, Hotel Jirahara, Hub+58, La Carnita, Lidotel Barquisimeto, Lumind, M+ Arquitectos, Milagros Sanchez Arquitecto, Pedrera Santa Rosa, Sousa Supply
Un especial agradecimiento al personal de la Hacienda Santa Rita y trabajadores en el Valle del Turbio: Alexander Rodríguez, Alfredo Briceño, Inyerlin Álvarez, Manuel Parra, Neimar Cuello, Nolberto Pire, Rafael Figueroa, Wilmer Cuello
Diseño, Programa, Contenidos de Dislocal Rio Turbio Valle Ribera: Marcos Coronel-Bravo, Khristian Ceballos, Melissa Parra, Ingrid Regalado, César Figueroa, David Méndez, Rafael Súarez-Novoa
“ 追溯场地历史，用心感悟古老的土地，在穿越河谷的过程中探索自然与土地发展之间的深层关系。”
审稿编辑: SIM
更多 Read more about: Dislocal + Bastidas y Salinas
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