非常感谢 Izaskun Chinchilla 将项目介绍和项目图片授权gooood发行。更多关于他们：Izaskun Chinchilla Architects on gooood
Appreciation towards Izaskun Chinchilla for providing the following description:

在本展馆中，我们利用3D打印技术制作了一系列圆环，这些圆环既重现了传统巴斯克刺绣图案，也融入了具政治意识的符号。这些刺绣主题聚焦于一系列紧迫的社会议题：房价上涨、城市传粉者的生存威胁、海洋生态系统的退化、个体在照护中的责任、圣塞巴斯蒂安过度旅游的影响，以及女性在建筑行业中获取机会的不平等。当代作品如莎拉·科尔贝特（Sarah Corbett）的《A Little Book of Craftivism》（2013）与《How To Be A Craftivist》（2017），展现了一种不同形式的革命：市民不再只是被动的消费者，而成为有意识的创造者。我们的展馆为2025年Mugak双年展而建，旨在作为探索乌托邦的公共论坛。它不仅仅是理念的展示，更是一个邀请——邀请市民，尤其是女性、老人、儿童与照护者，通过“针线”这一集体行为共同发声。每一根线、每一句话、每一个符号，都是一次对未来的集体想象。

In our pavilion, we use 3D printing technology to create a series of hoops that reproduce traditional Basque embroidery patterns, while also incorporating motifs of political awareness. These embroideries raise awareness of pressing issues such as rising housing prices, the threat to urban pollinators, the deterioration of marine ecosystems, individual responsibility in caregiving, the effects of mass tourism in San Sebastián, and gender inequality in access to the architectural profession. Today, works such as A Little Book of Craftivism (2013) and How To Be A Craftivist (2017) by Sarah Corbett offer a different kind of revolution: citizens who cease to be merely, or primarily, consumers. Our pavilion, constructed for the Mugak/2025 Biennale, is designed to serve as a forum for the exploration of utopias. Rather than simply representing an idea, it invites citizens – especially women, older people, children, and caregivers – to express themselves collectively through the act of stitching. Each thread, message and symbol represents a collaborative effort to imagine the future.

▼装置概览，overview of the installation © Erlantz Biderbost

集体想象的场所
A Place for Collective Imagination

展馆兼具社会功能与象征意义，其设计鼓励公众参与与表达：

The pavilion has a clear social purpose as well as being symbolic. Its design allows for multiple uses that encourage participation and public expression.

▼装置概览，overview of the installation © Erlantz Biderbost

刺绣乌托邦：展馆的主要功能是提供集体刺绣空间。圆环适配各年龄层与身体能力的使用者，可放置在仿树干的长凳上，或地面上如落叶铺成的地毯。圆环可固定在结构上，使刺绣成为建筑的一部分。

Embroidering Utopias: The pavilion’s primary function is to serve as a space for collective embroidery. It features hoops adapted for people of all ages and abilities, which can be used on benches resembling fallen tree trunks or directly on the ground, resembling a bed of dry leaves. These hoops have a fastening system that enables them to be attached to the pavilion’s structure, thereby integrating the embroidery into the architecture itself.

▼使刺绣成为建筑的一部分，integrating the embroidery into the architecture itself © Erlantz Biderbost

集体托育：展馆两端可封闭，形成安全的儿童活动区。内部可举办工作坊，外部则为照护者提供讨论空间，探索以“关怀”为核心的社会政策。

Collective childcare: The pavilion can be closed at its ends to create a safe area for childcare. Workshops can take place inside while, outside, mothers, fathers and other carers can gather to discuss and propose policies that incorporate the perspective of care.

▼内部可举办工作坊，Workshops can take place inside © Erlantz Biderbost

可见性与包容：展馆位于游乐场与拉孔查海滩之间，使照护者能一边参与公共讨论，一边照看孩子，让那些常被排除在政治话语之外的声音得以被听见。

Visibility and inclusion: Strategically located opposite a playground and La Concha beach, the pavilion enables caregivers to participate in public forums while keeping an eye on their charges. This ensures that the voices of those who are often excluded from political conversations are heard.

▼体现可见性与包容，showing visibility and inclusion © Erlantz Biderbost

电影、集会与气候保护：灵感来自双曲抛物面的屋顶提供遮阳与防雨功能，可举办户外集会、放映或讲座。其轻盈而坚韧的几何结构，象征着乌托邦的精神：开放、柔性与持久。

Cinema, assemblies, and climate protection: The hyperbolic paraboloid-inspired roof provides shade and shelter from the rain, allowing for outdoor activities such as assemblies, film screenings, and talks. The pavilion’s light and resilient geometry serves as a metaphor for utopia: flexible, open and enduring.

▼提供遮阳与防雨功能，provides shade and shelter from the rain © Erlantz Biderbost

忠于自身原则的技术结构
A technical structure that is characterised by its adherence to its own principles

展馆采用先进的3D打印技术，实现结构优化，在确保稳定性的同时最小化材料使用。穿孔屋顶模块能抵御风载，并呼应刺绣的视觉语言，其图案包含叶片、鸟类与地区徽章，象征自然、身份与集体愿景。刺绣图案有意打破规律性，以提醒人们全球性问题的紧迫性：过度旅游、住房危机、生物多样性丧失与海洋退化。

▼轴测图，axonometric © Izaskun Chinchilla Architects

The pavilion incorporates advanced 3D printing technology, allowing for structural optimisation that minimises material use without compromising stability. The perforated roof modules are engineered to resist wind loads and evoke the embroidery of véhiculaire; their motifs include leaves, birds, and provincial shields, linking nature, identity, and collective desire. The embroidery patterns intentionally disrupt their regularity, serving as a reminder of pressing global issues such as over-tourism, housing crises, biodiversity loss, and marine degradation.

▼呼应刺绣的视觉语言，evoke the embroidery of véhiculaire © Erlantz Biderbost

所有材料均遵循循环经济原则：3D打印材料来自回收包装与海洋清洁塑料；纺织部分则使用回收风帆布制成。展馆的结构与物质体现了一种乌托邦理念——一个循环的生产体系，其中工业不再是环境的威胁，而是其保护与再生的保障。

All materials used in our products, including those for 3D printing, are selected with the principles of the circular economy in mind. We use pellets and filament made from recycled packaging and ocean-cleaning plastics. The textile elements are made from recycled sailcloth. The pavilion’s structure and materiality thus embody a utopian concept: a circular production process in which industry is not a threat to the environment, but a guarantor of its preservation and regeneration.

▼纺织部分则使用回收风帆布制成，The textile elements are made from recycled sailcloth © Erlantz Biderbost

多手编织的乌托邦
A Utopia Woven by Many Hands

在一个充斥着自上而下话语与技术解决方案的世界中，本项目选择支持自下而上的文化生产——为手工、为集体、为感性发声。与象牙塔式的孤立创作相对，我们呈现一个共享的刺绣圆环，象征合作与社区。这一行动本身即是一份宣言——开放、无教条、无中心。

In a world saturated with top-down discourses and technocratic solutions, this project chooses to support bottom-up cultural production — to vindicate the manual, the collective, the sensitive. In contrast to the traditional image of the ivory tower, we present a shared embroidery hoop as a symbol of collaboration and community. The manifesto is not supported by this action. We are committed to facilitating open dialogue in the absence of dogma.

▼细部，detail © Erlantz Biderbost

《轻盈与抗议》是一种女性的、多元的乌托邦。它承认“关怀”“参与”“公民实践”“工艺”与“协作”的政治价值。它不承诺天堂，但邀请我们——从共同的土地出发，一针一线地建造它。在这场由叶片、线条、记忆与愿望交织而成的集体创作中，
我们得以重新构思城市，重新想象人类的共同存在。

Lightness and Protest is a feminine, plural utopia. It is a space that acknowledges the political value of care, of participation and civic engagement, of craftsmanship and collaboration. It does not promise paradise, but it invites us to build it, stitch by stitch, from the common ground. In this collaborative endeavour, comprising elements such as leaves, threads, memories and desires, we have the opportunity to explore novel approaches to conceptualising the city and to reimagine our collective existence in the world.

▼场地平面，site plan © Izaskun Chinchilla Architects

▼顶视图，top view © Izaskun Chinchilla Architects

▼立面图，elevation © Izaskun Chinchilla Architects

Architecture: Izaskun Chinchilla Architects
Promoter: Basque International Architecture Biennial – Mugak/2025
Photography: Erlantz Biderbost

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