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Josep Ferrando在智利面朝大海的荒野铁路上实现了一个酷酷的大滚轮。滚轮所在地极目之处皆是野性自然：太平洋，岩石，沙子。而唯一人工干预痕迹—铁路，也因为荒废而被时间所模糊。这个大滚轮的出现，与辽阔的海洋，静止永恒的地平线，以及老铁路的工人痕迹形成关联。

该项目是 Pavilion in 8³计划中的一部分，分别由一批建筑师与学生合作完成。详细建筑师名单见下方英文。

MATERIAL UNIT-Y

“Ocho Quebradas” Pavilion in 8³ (Los Vilos, Chile)

threshold
1. the plank, stone, or piece of timber that lies under a door.
2. the place or point of entering or beginning.
3. the point at which a physiological or psychological effect begins to be produced .

The project of the “Ocho Quebradas” Pavilion in Ios Vilos (Chile) was born after its assignment by the University of Finis Terrae and located within the housing development project 8³, where 8 construction phases, consisting of 8 houses each, will be developed in succession. The assignment consists concretely in generating an entrance, a threshold for the complex of houses that will occupy the second and third phase, planned respectively by eight Japanese and Chilean architecture offices: O + H , Junya Ishigami, Atelier Bow Wow – Momoyo Kajima & Yoshiharu Tsukamoto, Akihisa Hirata, Kazuyo Sejima, Kengo Kuma, Ryue Nishizawa, Sou Fujimoto, HLPS arquitectos, Alejandro Aravena, Cristian Undurraga, Felipe Assadi, Max Nuñes, WMR arquitectos, Izquierdo Lehmann – Luis Izquierdo & Antonia Lehmann and Guillermo Acuña.
The project had to then be constructed by a group of professors and students of the UFT in four days.

The territory is limited by the coast facing the Pacific Ocean, a desert of rocks and sand and an ancient railway blurred by time and abandonment, the only trace of human intervention in the landscape. The pavilion is implanted in this context taking as a reference the two fixed horizons in the landscape: the thin line generated by the ocean, still and invariable, and the blurred and artificial topography of the ancient railway.

When inserting the project into this area, we seek a direct relation with the first human construction: the railway. In this way, the two objects reinforce each other. The ancient track prepares a base to support the pavilion and provides a connection to the ground.

The ocean draws an infinite horizontal line which marks a visual reference. This horizontal perception together with the suggestive image of the railway, draw towards a lineal and infinite movement.

立于两条铁轨之上大滚轮，用自己的无言与高耸面对海洋无尽与平和的海平线，以及铁路看似没有终点的水平延生线。除了上述景观要素之外，建筑师还利用了“风”这一要素。就像风筝能够利用风飞翔一样，建筑师也研究了特定的几何形状，以让这个大滚轮可以不被风破坏，反而能借风工作。整个大轮子采用几何分型法建造，共使用到760根交织线条。此外达芬奇早在15世纪就研究了永动机的可能性。在这里，建筑师也希望利用风的力量推动大滚轮在有限距离中的无限时长往返运动—为此建筑师在铁路上为大滚轮划定了一个长度为25米的往返行进区间。

The third element of the landscape which the pavilion takes advantage of is the wind: essential condition to define the construction of the mechanism of this machine.

Graham Bell, at the end of the XIX century, studied the movement generated by the wind through the observation of kites, which flew over 40m high. He obtained, through geometry, a unity formed by the ensemble of individual modules. If we punch holes in a kite formed by one unique piece, the kite loses its qualities, on the other hand if the same object is made by a combination of pieces generating a unity, the kite may be damaged but will not lose its function.

Exploring this concept of Material Unity (singular and plural at the same time) , the pavilion is developed through a geometry that works with the wind and, like a fractal, constructs a wheel like shape. A total of 760 equal pieces intertwine between the radius and the tangent with 7 different angles.

Leonardo da Vinci, as early as XV century, during the Italian Renaissance, studied the possibility of perpetual movement through the observation of pendulums. The project takes this reflection into consideration and generates a perpetual movement of finite distance through a mechanism of gearwheels using the force of the wind. The motor wheel, the supporting wheel and the crazy wheel, each one inside the other, allow this displacement, finite in space, infinite in time.

Through this principle the pavilion draws its space in a finite itinerary delimited by the territory. The object defines a threshold between two points on the railway, an entrance for the new residential complex. Two points, 25 meters apart, result from the mechanisms and measures of its construction, of the unity and the aggregation.

In the context the pavilion converts itself in a kaleidoscope, a moving wheel with a diameter of 6 meters perceived through the shadows forming the material unity, the movement and the sun.

这个直径6米，造型整体材料统一的木制大滚轮位于荒野之中，位于海天之间，用自己的独特的方式体验自然，随自然而变化。

A pavilion made of wood, a material resistant to the climatic changes and the passing of time; a necessary material considering the construction process as a design factor. A professional-academic project where construction comes close to the university environment, generating a way of learning through experience.

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