戴維·阿薩埃爾，戴維·巴蘇爾托/David Assael, David Basulto

尚晉 譯/Translated by SHANG Jin

智利本色

The Architecture Chile Deserves

戴維·阿薩埃爾，戴維·巴蘇爾托/David Assael, David Basulto

尚晉 譯/Translated by SHANG Jin

在過去的10年中，智利的國(guó)家和社會(huì)經(jīng)歷了劇變，其建筑也因此受到了影響。

與大多數(shù)發(fā)展中國(guó)家一樣，快速的經(jīng)濟(jì)增長(zhǎng)與管理的不足為探索新建筑創(chuàng)造了空間，使上個(gè)世紀(jì)現(xiàn)代主義與國(guó)際主義風(fēng)格的老樹發(fā)出新芽。

然而，這種經(jīng)濟(jì)增長(zhǎng)的轉(zhuǎn)變并未帶來其他發(fā)展中國(guó)家那樣的“過?！?。事實(shí)上，它使得司空見慣的稀缺性變得更加重要。這種稀缺性迫使智利建筑師跳出思維的條條框框，物盡其用，用本地的知識(shí)設(shè)計(jì)本地的方案，從而達(dá)到“少就是多”的高度創(chuàng)新，而非炫耀技術(shù)。正如普利茲克獎(jiǎng)評(píng)委亞歷杭德羅·阿拉韋納所說，“建筑依靠的是材料而非產(chǎn)品”。這種理念給了智利建筑師一種與建造技藝密不可分的獨(dú)特審美，再加上這片國(guó)土獨(dú)特的迷人風(fēng)光，智利建筑藉此譽(yù)滿全球。

新建筑的第一次大潮以私人項(xiàng)目為主——既有俯瞰大海的住宅，又有立于原野之中的酒店。但這卻不是讓大多數(shù)智利公民受益的建筑。

這第一次大潮出現(xiàn)在轉(zhuǎn)型時(shí)期，與之前的快速增長(zhǎng)有著密切聯(lián)系。不過，在過去的10年中，大幅度的改革緩解了教育、醫(yī)療和就業(yè)的不平等。這種社會(huì)變化已滲透到城市，即不平等的外化空間中，而建筑的使命就是克服社會(huì)分化，成為給每個(gè)公民創(chuàng)造機(jī)遇的沃土，而與人們的收入無(wú)關(guān)。

同時(shí)，智利的公共項(xiàng)目在不斷增加，著名的建筑也因此走入公民的日常生活。而最重要的是，這些項(xiàng)目的建筑師以投身這一社會(huì)變化為己任。在這個(gè)領(lǐng)域有一種深刻而真摯的理念——建筑可以為智利公民的生活帶來積極的影響。本期中的項(xiàng)目所展現(xiàn)的正是智利建筑師對(duì)于這一崇高（而艱巨的）使命的執(zhí)著，并證明建筑可以超越氣候、材料、傳統(tǒng)等諸多因素，以及現(xiàn)代主義建筑師曾倡導(dǎo)的自上而下的方法論。智利建筑與社會(huì)之間的新聯(lián)系源于自下而上的運(yùn)動(dòng)，將“本地性”的全部?jī)?nèi)涵放在首位。

教育是另一大問題，它將為新一代建筑師的成長(zhǎng)奠定基礎(chǔ)。在智利南部，塔爾卡大學(xué)從其特殊的環(huán)境出發(fā)，培養(yǎng)了一類特殊的建筑師——這個(gè)地區(qū)所需的建筑師。塔爾卡大學(xué)的教學(xué)大綱要求畢業(yè)設(shè)計(jì)在實(shí)施后能夠成為該地區(qū)發(fā)展的一部分。這些即將走向社會(huì)的建筑師絕不能只是設(shè)計(jì)項(xiàng)目，還要為實(shí)現(xiàn)它尋找資金。這一過程將未來的建筑師帶上了創(chuàng)業(yè)之路，他們走出校門時(shí)不僅具備從業(yè)所需的技能，更有服務(wù)社會(huì)的抱負(fù)。

本期項(xiàng)目遍布在智利7200km的大地上1，2）。地理和氣候條件各不相同，但塑造出的是同一個(gè)智利社會(huì)。

這就是智利建筑與建筑師的本色?！?/p>

注釋:

1) 本期專輯項(xiàng)目以地理位置由北向南排序。在編輯過程中，智利北部發(fā)生了洪水與滑坡?？破啿ǖ目伎ㄈ鸪鞘泄珗@作為抗洪基礎(chǔ)設(shè)施，成功地實(shí)現(xiàn)了設(shè)計(jì)時(shí)的泄洪導(dǎo)流功能。公園雖已遭破壞，卻挽救了數(shù)千人的生命。由于是為泄洪設(shè)計(jì)的，公園很容易重建，并將繼續(xù)作為公共空間為科皮亞波市民服務(wù)。

2）參與本期專輯編輯的ArchDaily團(tuán)隊(duì)成員包括：戴維·阿薩埃爾（主題），戴維·巴蘇爾托（主題、總協(xié)調(diào)、西班牙語(yǔ)翻譯），費(fèi)爾南達(dá)·卡斯特羅、尼古拉斯·薩赫、達(dá)納?！ど５偻邇?nèi)斯（項(xiàng)目組織與協(xié)調(diào)），貝基·昆塔爾（西班牙語(yǔ)翻譯），波拉·莫拉（謄寫）。

In the past decades, Chile－as a country and as a society－h(huán)as undergone significant changes that have shaped its architecture.

Rapid economic growth and a lack of regulation typical of a developing country made room for experimentation with a new architectural identity that reformulated the past century's strong influence of modernism and the international style.

However, this swift economic growth did not lead to the "excess" seen in other developing countries. In fact, it made the familiar condition of scarcity even more important. This scarcity has forced Chilean architects to think outside of the box, to use what is available, to develop local solutions with local knowledge, and to achieve a level of innovation that celebrates "less is more" rather than technological marvels. As Pritzker jury member Alejandro Aravena once commented, this context where you "build with materials rather than with products," gave Chilean architecture a particular aesthetic deeply linked to constructive craftsmanship, which, combined with the country's unique and amazing landscapes, has led to the worldwide acclaim of Chilean contemporary architecture.

This first wave of new architecture was practiced mostly for private projects－astonishing houses overlooking the ocean or hotels in the middle of untouched nature. Yet this was not the kind of architecture that most of Chile's citizens would benefit from.

Related to the aforementioned rapid growth, this first wave occurred during a period of transition. However, during the past 10 years, profound reforms helped ameliorate existing inequalities in education, healthcare and labor. This societal change has creeped into the city－the site in which inequality is materializedand architecture is charged with overcoming disparity and creating a place that provides opportunities for every citizen, no matter their income.

In Chile, an ever-growing list of public projects is integrating acclaimed architecture into the daily lives of its citizens. But most importantly, these projects come from architects who are committed to taking part in this change in the society. Within the field, there is a deep and genuine understanding that architecture has the potential to positively impact the quality of life of Chilean citizens. The projects included in this issue demonstrate Chilean architects' commitment to this admirable (if not difficult) task and show that architecture can acknowledge a broader context that goes beyond climatic concerns, materiality, traditions, and the top-down impositions once suggested by modernist architecture. Chilean architecture's new connection with society stems from a bottom-up movement which prioritizes "local-ness" in all aspects of the word.

Also relevant to the conversation is education, as it sets the groundwork for the formation of the new generation of architects. In the south of Chile, the University of Talca has embraced its context and educated a specific kind of architect: the one that its region needs. Talca's program culminates in the design and building of a project that will be a part of the region's development.The soon-to-be architects must not only develop a project, but also fund it and materialize it. The process promotes an entrepreneurial approach to the future architects, who, once graduated will not only have the tools needed to enter into the professional world, but will also have the skills and commitment to serve society.

Facing different geographies and climates, the projects in this issue can be found all along the 7200 kilometers of Chile1,2), but they all advance Chilean society as one.

This is the architecture－and the architects－that Chile deserves.□

Note:

1) Projects in this issue are ordered from North to South. During the preparation of this issue, northern Chile was hit by floods and landslides. The Kaukari Urban Park in Copiapó, designed as a floodable park, served its purpose as hydraulic infrastructure and channeled the floods. The park is now in poor condition, but saved thousands of lives. As it was designed for flood control, it can be easily rebuilt to continue serving the citizens of Copiapó as a public space.

2）Theme & editorial by David Assael and David Basulto. General coordination: David Basulto. Projects curation and coordination: Fernanda Castro, Nico Saieh, Danae Santiba?ez. Translations & Copy-editing: David Basulto, Becky Quintal. Transcriptions: Pola Mora.

ArchDaily網(wǎng)站創(chuàng)始人/Founders of ArchDaily

2015-05-10