查理和水泥厂
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年份： 2021
学校： University of Ljubljana
课题： Charlie & the cement factory
设计师： Denis Hitrec
指导老师： Prof. Dr. Matej Blenkuš, Assist. Primož Žitnik
基地地址： 斯洛文尼亚 | 特尔伯夫列
类别： 小型、中型、大型、超大型、基础设施、再利用、工业、转型
特尔伯夫列水泥厂引人注目的基础设施被认为是该地区新身份的基础。
特尔伯夫列功能失调的水泥厂体现了整个地区无法摆脱其工业历史。 该论文推测了未来，工厂引人注目的基础设施将被视为该地区新身份的基础。 理想但不太可能的对应物是巧克力工厂，在罗尔德达尔 1964 年的经典作品中，它变成了一个虚构的实体，但缺乏空间实体。
200 多年来，采煤业创造、城市化和塑造了 Zasavje 地区的核心价值观和景观。 过去几十年单一种植业的衰落使该地区成为斯洛文尼亚问题最严重的地区之一。 该行业对生态系统造成的负面影响，尤其是它所造成的社会污名化，似乎融入了水泥厂通过狭窄山谷守卫该地区入口的雄伟形象。 事实上，臭名昭著的外表一直是政治辩论的中心，并成为当代艺术家作品的灵感来源，最著名的是 NSK 和莱巴赫。
很快我就明白了，这个地区的危机首先是想象力的危机！ 达尔的儿童小说向我揭示了摆脱这种难以忍受的状态的出路。 没有什么能像幻想一样毫不费力地将工业英国的社会排斥和重工业特征变成查理巧克力工厂的神奇世界。 当建筑是纯粹的想象，一个不同世界的梦想时，它不也是最强大的吗？
从本质上讲，这个想法是关于两个互补的：强大的基础设施变得过时的水泥厂和通过文学、流行文化和广告建立的小说，它赋予了巧克力工厂在所有工厂中最正面的形象。 在一系列的公众形象中——这两者无疑会占据截然相反的两端：厌恶和纯粹的快乐。
两个对立的主题也反映在空间上，以前的制造设备具有多种含义：既可以作为博物馆的遗产，也可以作为巧克力工厂的虚构实体。 因此，新身份并没有否认该地区的历史或外观，而是认识到其中的空间和想象力潜力。 目标是使用建筑图像来揭示已经存在但看不见的东西。
带着一丝天真，或者 Bachelard 所说的故意“不知道”，这篇论文是一个挑衅性的实验，探索其原始现实之外的空间潜力。 大变化需要大故事——这些故事不仅提供逻辑工具性的解决方案，而且将逻辑、推理和知识颠倒过来，暂时将它们转变为查理巧克力工厂的神奇世界！
Trbovlje cement factory’s striking infrastructure is recognized as a foundation of the region’s new identity.
The dysfunctional cement factory of Trbovlje embodies the whole region’s inability to depart from its industrial past. The thesis speculates a future, where the factory’s striking infrastructure is recognized as a foundation of the region’s new identity. The ideal but unlikely counterpart is found in a chocolate factory, which in Roald Dahl’s 1964 classic became a fictional entity, however, lacking a spatial substance.
Coal-mining has created, urbanized and shaped the core values as well as the landscape of the Zasavje region for more than 200 years. The downfall of the monoculture industry in the last couple of decades has put the area amongst the most problematic ones in Slovenia. Negative impact that the industry has left on the ecological system and in particular the social stigma it created seem to merge in the imposing image of a cement plant guarding the region’s entrance through the narrow valley. In fact, the infamous appearance has been at the center of political debate and has served as an inspiration in the works of contemporary artists, most notably NSK and Laibach.
Soon it became obvious to me, that the crisis of the area is first and foremost the crisis of imagination! Dahl’s children's novel revealed to me a way out of this unbearable state. Nothing could change social exclusion and heavy industry characteristic of industrial Britain into a magical world of Charlie’s chocolate factory quite as effortlessly as a fantasy. Isn’t architecture also at its strongest when it is pure imagination, a dream of a different world?
In essence, the idea is about two complements: the cement factory whose mighty infrastructure became obsolete and the fiction built through literature, pop culture and advertising, which has granted the chocolate factory the most positive image among all factories. On a spectrum of public appearance – the two would no doubt occupy diametrically opposite ends: the repugnancy and the pure joy.
The theme of two opposites is also mirrored spatially, where the former manufacturing equipment bears a multitude of meanings: either as a heritage of the museum or as a fictional entity of the chocolate factory. As such, the new identity does not deny the history or appearance of the area but instead recognizes in them a spatial and imaginative potential. The ambition is to use architectural imagery to reveal what is already present, but cannot be seen.
With a touch of naivety, or what Bachelard would’ve called intentional “not-knowing”, the thesis is a provocative experiment that probes the potential of the space outside its crude reality. Big changes require big stories – stories that do not offer merely logically-instrumental solutions but turn logic, reason and knowledge upside down and, for the moment, transform them into the magical world of Charlie’s chocolate factory!