何塞·托馬斯·弗蘭克，尼古拉斯·巴倫西亞/José Tomás Franco, Nicolás Valencia

徐知蘭 譯/Translated by XU Zhilan

智利建筑的現(xiàn)狀：發(fā)自南半球的真實聲音

何塞·托馬斯·弗蘭克，尼古拉斯·巴倫西亞/José Tomás Franco, Nicolás Valencia

徐知蘭 譯/Translated by XU Zhilan

人們常把智利視為位于全球某個角落的國家，其建筑擁有令人嘆為觀止的地理環(huán)境卻不涉及真正的城市問題。智利建筑在全球范圍得到的認可與贊譽，加快了這個南美國家的建筑師們努力轉變?nèi)藗儗χ抢ㄖ钟械倪@種刻板印象的腳步。隨著城市化進程與經(jīng)濟增長的急速發(fā)展，智利的建筑通過采用本土和鄉(xiāng)土的建造技術形成了樸素而節(jié)制的建筑原則（即滿足功能需要而不追求時尚）。為了理解最近關于智利建筑真正發(fā)自本土的聲音，我們必須反思全球中心的北半球化對一個國家的建筑態(tài)度產(chǎn)生了怎樣的影響。

智利，建筑，新興經(jīng)濟，鄉(xiāng)土，本土，地理環(huán)境，城市化

導言

2014年，密斯皇冠廳美洲獎（MCHAP）的新興建筑獎頒發(fā)給了佩佐·馮·艾利赫夏森設計的坡里住宅；第14屆威尼斯建筑雙年展為智利館授予銀獅獎；而蛇形畫廊的設計者則由斯米連·拉迪奇中選。這些獎項肯定了新的智利建筑，它已不是1980-1990年代外國出版物表現(xiàn)智利建筑的方式——即把智利視為位于地球某個角落的國家，通過各種私人住宅設計來理解智利建筑，那些建筑通常以震懾人心的地理環(huán)境為背景，卻遠離真正的城市環(huán)境及其問題。

要理解智利建筑的現(xiàn)狀，就必須在地緣政治的背景下深入解讀包括智利在內(nèi)的其他南半球地區(qū)——如非洲、拉丁美洲，以及部分亞太地區(qū)等；也必須理解冷戰(zhàn)末期和北半球世界在建筑學理論和實踐上的至高無上的地位，共同導致形成了一個政治多極化、文化混雜的多元世界。然而，南半球加速發(fā)展的城市化進程和宏觀經(jīng)濟增長也伴生出城市基礎設施、規(guī)劃和基本服務等方面的弊端。

60年的南半球建筑

在最近的60年里，南半球開始躍入一條疾速且不可逆轉的宏觀經(jīng)濟增長軌跡，實現(xiàn)了科學、技術、經(jīng)濟和政治方面的理性實踐。建筑一直在其中扮演著基本角色，并反映出對整個文化歷史的逐步拋棄。正當歐洲在批判的地域主義與后現(xiàn)代主義的國際教條之間進行意識形態(tài)上的掙扎探索時，南半球則剛剛開始進行現(xiàn)代主義建筑的理性實踐，同時在經(jīng)濟和城市規(guī)劃領域實現(xiàn)自由市場。自然，這種有限的建筑與城市建設，和許多其他地區(qū)的城市一樣無法自圓其說。其結果是積累起日益龐大的貧民窟，它們沿著城市的邊緣地帶發(fā)展形成大片的袋狀區(qū)域。

南半球的經(jīng)濟發(fā)展成功地刺激了城市化的迅猛發(fā)展，以至于根據(jù)聯(lián)合國人居署的統(tǒng)計，拉丁美洲已經(jīng)成為目前地球上城市化程度最高的地區(qū)，亞洲的許多城市則躋身全球發(fā)展速度最快的城市行列。其發(fā)展過程之粗暴亦如發(fā)展速度之迅速一樣令人震驚，導致了嚴重的環(huán)境惡化、城市郊區(qū)貧民窟的綿延固化，以及人們面對經(jīng)濟窘境日益強烈的絕望情緒，這些都是發(fā)展帶給南半球的苦澀遺產(chǎn)。

因為受到資源短缺的困擾和北半球強大學術影響力的制約，南半球建筑設計的重要程度被低估，這種評價甚至來自于這個地區(qū)內(nèi)部的學術機構，他們把對發(fā)達國家豐富的遺產(chǎn)和建筑作品的分析與傳播視為頭等大事。學術機構在本土語境下對普世方法的推崇確保了國際主義風格的大規(guī)模傳播。因為幾乎毫不考慮氣候、社會或經(jīng)濟因素，南半球的城市天際線也惟妙惟肖地模仿了發(fā)達國家各大金融中心的輪廓。

然而，即便是在城市發(fā)展與經(jīng)濟條件如此不平等的情況下，仍有一些智利的建筑作品通過采用當?shù)睾袜l(xiāng)土的建筑工藝，實現(xiàn)了樸實無華的風格——設計出于對需求的滿足，而不是為了趕時髦。建筑師們采用的這些本土化設計手法本身就考慮了資源短缺、社會條件和氣候環(huán)境等因素，因此他們能在公共服務和基礎設施匱乏的條件下，仍然創(chuàng)作出值得稱贊的作品。

在智利這個南美洲國家，目前這一代聲名鵲起的建筑師們經(jīng)歷過國家從軍事獨裁向民主制度過渡的階段，也經(jīng)歷過此后的1990年代早期經(jīng)濟蓬勃發(fā)展和持續(xù)穩(wěn)定的時期。他們只是在窮盡了國際主義和理性的現(xiàn)代主義教條的方法之后，才形成了自己的作品——其中大部分項目是第二套住宅，而這些受到本土環(huán)境啟發(fā)的設計卻強化了智利景觀式國家的刻板印象。

盡管建筑學教育迅速地增加了可供選擇的設計手法，智利建筑設計主題單一的教條和機械化的重復也變得明顯。建筑師們則不斷地對日常的問題作出反應，進行鉆研，關注如何回應本土語境，拓展自身業(yè)務，探索本土技藝，并振作起來面對公眾的質(zhì)疑。21世紀伊始，智利迅速發(fā)展的城市化進程也讓過去曾被軍事獨裁抹煞、之后又被市場扭曲的公共空間概念得到重現(xiàn)，并自2011年開始通過社會運動推廣開來。

互聯(lián)網(wǎng)，面向世界的櫥窗

目前，南半球的建筑設計（以及“一直未曾消失”的本土建筑）獲得了全球認可。與此同時，伴隨著新興中產(chǎn)階級的誕生和不斷壯大，這些國家的經(jīng)濟也變得更加成熟穩(wěn)定。每當互聯(lián)網(wǎng)對現(xiàn)實生活的滲透和影響達到新的高度時，人們都會開始逐漸對全球化背景下、印刷出版物作為唯一信息來源的合法地位產(chǎn)生質(zhì)疑。

根據(jù)“互聯(lián)網(wǎng)世界統(tǒng)計”i公布的數(shù)據(jù)，2005年，發(fā)展中國家已有51%的人口使用互聯(lián)網(wǎng)。而拉丁美洲的互聯(lián)網(wǎng)普及化程度在2000-2014年間經(jīng)歷了高達1672.7%的增長，令人震驚。亞洲的這一數(shù)據(jù)是1112.7%，非洲是6498.6%。不僅如此，南半球的互聯(lián)網(wǎng)用戶數(shù)量也在2014年達到了全球總數(shù)的69.7%，而亞洲（不包含日本）也僅有42.1%。

與不斷增長的互聯(lián)網(wǎng)需求平行發(fā)展的是出現(xiàn)在南半球的建筑在線平臺，如ArchDaily網(wǎng)站等，利用互聯(lián)網(wǎng)促成的民主化制作高品質(zhì)、持續(xù)更新和免費獲取的數(shù)字內(nèi)容。產(chǎn)生于南半球的建筑設計網(wǎng)站ArchDaily推廣了本土建筑的理念，并把它推向全球。

南半球在經(jīng)歷了幾十年的建筑殖民主義之后，由互聯(lián)網(wǎng)帶來了發(fā)出自己聲音的機會；正如最近美國紐約現(xiàn)代藝術博物館（MoMA）一個題為“建設中的拉丁美洲：1955-1980年的建筑”的展覽所展現(xiàn)的，人們開始回顧分布在拉丁美洲、非洲和亞洲的20世紀建筑。展覽突出了這一地區(qū)的現(xiàn)代建筑是如何適應和重新解讀本土身份的——南半球的建筑設計并不全然是發(fā)達國家大師作品的復制粘貼，而是對本土語境的再闡釋，有其自身的規(guī)則和個性特點。

1 塔爾塔爾公共圖書館街景/Taltal Public Library, street view

2 塔爾塔爾街景/Taltal, street view

3 塔爾卡小教堂街景/Church(ita), Talca, street view

4 塔爾卡拉巴斯鎮(zhèn)街景/La Paz Village, Talca, street view

5 奇洛埃島休閑中心衛(wèi)星地圖/Google Earth, Chiloé Leisure Center

6 卡斯特羅灣街景/Castro, street view（1-6圖片來源：Google Earth）

如果要把具有這些特點的項目統(tǒng)一在一個概念下面，我們應該指出的是，這類建筑在響應各種本土設計規(guī)則的同時，并沒有陷入過去一段時間以來出現(xiàn)的鄉(xiāng)土建筑類型，也沒有一味追求透視效果的建筑學。在智利這個（在社會、經(jīng)濟和政治上）完全受地理環(huán)境限制的國家，是它的建筑材料和本土技藝塑造了這種發(fā)展。與過去幾十年間人們只能在社會精英委托的項目中找到高品質(zhì)建筑的情況截然不同，現(xiàn)在，大家對在城市中（或為城市）進行創(chuàng)作產(chǎn)生了新的興趣。

2014年，斯米連·拉迪奇在他設計的蛇形畫廊開放期間，與《衛(wèi)報》進行過一次訪談，其中談到了智利建筑與其他地方的建筑之間存在什么差異。在提到智利建筑的厚重墻體時，拉迪奇說：“（它）在歐洲很少見到，那里通常會一層又一層地（用各種隔熱材料）構成墻體”，并強調(diào)說，“你們對舒適的定義完全不同?？墒裁词鞘孢m？是20℃嗎？可能在有些地方，舒適意味著只有15℃，只是你要多穿點衣服。這是另外一種舒適”。因為在拉迪奇看來，“人可以適應環(huán)境”。

精選項目

南北跨度長達4270km的智利擁有極為多樣的自然景觀，每一種景觀都各具原始的地理特色。這種國土疆域的多樣性不僅體現(xiàn)在地理環(huán)境和氣候特征上，也折射在歷史、社會、政治和經(jīng)濟的維度上，是這些維度上的要素共同形成了一座座智利城市。

我們可以從某些地方的建筑圖案上辨認出它們與當?shù)亟ㄖ牧稀⒔ㄔ旒妓?、空間特征和審美要素之間的關系。因為氣候、經(jīng)濟或社會條件的不同，一些地區(qū)具有更突出的傳統(tǒng)特征，并在建筑物上有明顯的表現(xiàn)。其他情況下，在那些較為“年輕”且也許不那么“令人印象深刻”的地區(qū)則自然而然地涌現(xiàn)出許多（沒有建筑師參與或受教條影響的）建筑，它們服從于一種風格更為混雜而不那么引人矚目的特征。

在這兩種條件下都產(chǎn)生了許多“對的”建筑。考慮到它們所在的環(huán)境，這些設計都是正確的，因為它們直接回應了自身所在的環(huán)境和背景。這正是我們所欣賞的——項目用建筑來表達自身所屬的地域特征，全然接納它的背景環(huán)境，并有效地滿足業(yè)主的需求。

以下這些項目是今天在我們看來很有價值的建筑，它們能幫助我們了解真正發(fā)自智利本土的聲音，并向我們展現(xiàn)智利人民從南到北的居住方式。

北部

位置：塔爾塔爾，安托法加斯塔地區(qū)

項目：塔爾塔爾公共圖書館

事務所：穆魯亞-巴倫蘇埃拉建筑師事務所

塔爾塔爾是一座為發(fā)展硝石產(chǎn)業(yè)、于1877年建立的沿海小鎮(zhèn)。它與沙漠毗鄰，擁有1.1萬居民。整座小鎮(zhèn)采用棋盤式道路格局，由19世紀的政府下令建設并完成移民。

它的建筑幾乎都是自發(fā)產(chǎn)生的。鎮(zhèn)中心的小型住宅區(qū)為了最大程度地利用宅基地，多為兩層高的聯(lián)排別墅。它們由此形成了一個連續(xù)的沿街立面，墻面上的開洞和其他要素主導了街道的立面效果，并通過居民選擇的不同色彩得到突出和強調(diào)。

在住宅和商店中還混雜著一些歷史建筑。它們都是硝石工業(yè)繁榮時代的遺產(chǎn)，其中包括阿罕布拉劇院（1921）和圣弗朗西斯科·哈維爾教堂（1890）。

我們從它們的立面上能找到歷史上的建筑特征，小鎮(zhèn)當時的富裕程度也能由此反映出來。幾何元素形成的這種透視效果在這座城市中不斷重復出現(xiàn)，它們優(yōu)雅地掩蓋了背后混亂不堪的室內(nèi)空間，只有在一些暴露在外的隔墻和自由懸空其上的屋頂上才能找到些許痕跡。

作為公開競賽的中標方案，塔爾塔爾公共圖書館就處在這樣的環(huán)境里，坐落在塔爾塔爾鎮(zhèn)主廣場前的一處狹長地段上。

這座兩層半的建筑物高于塔爾塔爾的平均建筑高度，建筑的每一邊（包括隔墻）都作為一個立面進行處理，并在周圍建筑物的啟發(fā)下采用了表面有紋理的混凝土作為母題。建筑的剖面與內(nèi)部庭院的設計結合在一起，使建筑能從兩邊進行自然通風。中部的側向空間也能作為天窗使用，為樓下提供采光。

周圍環(huán)境中的屋頂形式豐富多樣，因此圖書館的屋頂也設計得更為靈活自由，并通過頂部的開窗讓過濾后的光線照進閱覽室。

室外的材料肌理和全白的室內(nèi)效果形成了強烈的對比，由此更明確地表達了設計原則。建筑室內(nèi)猶如一張白紙，隱約表現(xiàn)出當?shù)靥卣鞯挠绊?，讓使用者——大部分是兒童——借助書本的魔力撰寫新的歷史。因此，這座建筑不僅支持、增強和重新肯定了自身所在城市環(huán)境的價值，還以其獨特的個性為之增加了新的地標。

Introduction

In 2014, the Mies Crown Hall Americas Prize (MCHAP) for Emerging Architecture was awarded to the Poli House by Pezo von Ellrichshausen; the Silver Lion from the 14th Venice Architecture Biennale was awarded to the Chilean Pavilion; and the Serpentine Gallery awarded Smiljan Radic the commission to build its pavilion. These decisions reflect on the new Chilean architecture that has distanced itself from the way in which foreign publications represented Chilean architecture in the 1980s and 1990s－as a country in the corner of the world, understood through the design of private houses set against an astonishing geography, away from any real urban issues.

To understand the current state of Chilean architecture, it is necessary read Chile and the rest of the Global South－Africa, Latin America, and parts of the Asia Pacific regionin their geopolitical context; the end of the Cold War and the supremacy of the Global North in the theoreticalpractical practice of architecture has led to a world of multipolar, culturally heterogeneous political hegemonies. However, the Global South's accelerated urbanization and macroeconomic growth has come hand-in-hand with deficits in infrastructure, planning, and basic services.

Sixty years of architectural production in the global south

In the last sixty years, the Global South started a rapid and irreversible trajectory of macroeconomic development, enforcing a scientific, technical, economic and political rationality. Architecture has played a fundamental role, reflecting the progressive abandonment of a whole cultural past. While Europe explored the ideological struggle between critical regionalism and international dogmas of post-modernism, the Global South was just beginning to process modernism's rationalization of construction and the implications of a free market on economy and urban planning. Understandably, this limited architectural and urban creativity, as many cities were incapable of projecting their own expansion. The result: accumulated pockets of poverty pockets along the urban periphery.

The economic development of the Global South stimulated rapid urbanization so successfully that Latin America is currently the most urbanized region on the planet and cities in Asia are among the fastest growing in the world, according to UN-Habitat. The process was as violent as it was fast, marked by serious environmental degradation, the consolidation of peripheral slums, and the intensification of the economic despair -the bitter heritage of the Global South.

Conditioned by a shortage of resources and a heavy academic influence from the Global North, the South's architectural production was undervalued even by its own institutions, which prioritized the analysis and diffusion of the rich heritage and production of the developed world. Favoring universal recipes for local contexts, institutions ensured the propagation of international styles on a mass level. With little consideration of climatic, social, or economical factors, skylines of by the Global South mimicked the financial centers of the developed world.

However, despite this increased development and economic inequality, certain architectural production in Chile embraced austerity (because of need, not because of fashion) via the use of local, vernacular construction techniques. By employing these localized methods, which take into account the shortage of resources, social conditions and climatic considerations, architects have been able to create commendable architecture in a condition in which public services and infrastructure are lacking.

In this South American country, the current generation of established architects came into being between the transition from military dictatorship to democracy, following a boom and subsequent stabilization of the Chilean economy in the early 90s. It is a generation that developed their own projects－mostly second homes, inspired by local conditions, but reinforcing the stereotype of a country-as-a-landscape－only after exhausting the international and rationalized modernist recipes.

While the possibilities offered by architectural education grew rapidly, the monothematic instruction and the mechanical repetition of architectural products became evident. Architects reacted, delved into everyday problems, focused on a response to the local context, sought their own commissions, explored local techniques, and summoned the courage to face public debate. At the start of the 21st century, as Chile ramped up its urban transformation, the concept of public space once eliminated by the military dictatorship and then distorted by the market was recovered, springing from the demands social movements from 2011 onward.

Internet, worldwide showcase

Currently, the Global South's architectural production (and the local architecture that ‘has always been there') reached global recognition at the same time as their economies are becoming more established, with a developing, new middle class. As internet penetration rates reach new peaks, people began to progressively question printed publications as the unique source of information in the globalized world.

In 2005, 51% of the population in the developed countries were on the internet, while in Latin America internet availability grew at an astounding rate of 1,672.7% between 2000 and 2014; Asia at 1,112.7%; and Africa at 6,498.6% according to IWS. Furthermore, internet users in the Global South reached 69.7% of the world's total in 2014, and Asia only (excluding Japan) represented the 42.1%.

In parallel to the growing usage of internet, online architectural platforms started in the Global South, such as ArchDaily, took advantage of the internet's democratization to develop quality, constantly-updated and freely-accessible digital content. Curating in and from the Global South, ArchDaily catalyzed ideas of a local architecture and brought it into global reach.

After decades of architectural colonialism, the internet gave the Global South a voice of its own; the Latin American, African, and Asian architecture of the twentieth century started to be revisited, as shown in the recent MoMA exhibition "Latin America In Construction: Architecture 1955–1980." The exhibition highlighted how modern architecture of the region was adapted and reinterpreted according to local identities－the Global South's architecture production wasn't solely a copy/ paste of the work of developed-world-masters, but a local reinterpretation, with its own codes and identity.

To link the projects featured in this issue under a general idea, it would be correct to point out that it is an architecture that answers to local codes without falling into the category of vernacular architecture or scenographies of a past time. In Chile, a country so thoroughly conditioned by its geography (socially, economically, and politically), materials and local techniques mold these efforts. In contrast to past decades where quality architecture could only be found on the commissions by the elite, there is now a new interest to work in (and for) cities.

In an interview with The Guardian during the opening of his Serpentine Gallery in 2014, Smiljan Radic touches on the differences between architecture in Chile and architecture practiced elsewhere; talking about thickness of walls, Radic says it "is uncommon in Europe, where you use layers and layers [of insulation]," emphasizing that "your idea of comfort is absolutely different. But what is comfort? 20 degrees? Maybe somewhere is only 15, but then you can wear more clothes. It is another kind of comfort." Because for Radic "People can adapt to ambience."

Selected projects

At 4,270 kilometers long, Chile is home to agreat variety of landscapes, each one with specific, raw geographical characteristics. This territorial diversity is not merely geographic or climatic, but it must also be understood as a series of historical, social, political, and economical issues that have shaped its cities.

中部

位置：塔爾卡，馬烏萊大區(qū)

項目：小教堂

事務所：Susuka事務所/胡安·帕布羅·科爾巴蘭，加夫列爾·貝爾加拉

位于塔爾卡的拉巴斯鎮(zhèn)是一片最近建成的中低階層居住區(qū)。盡管周邊有超市、學校和一所大學校園，但在這片低收入的社區(qū)，似乎并不會出現(xiàn)什么（優(yōu)秀的）建筑物。

這樣的場景不斷地重復出現(xiàn)在智利的許多城市，迫使建筑師們尋找簡單有效的解決之道。在這個項目里，設計的出發(fā)點并不明顯，其所在環(huán)境的復雜程度則凸顯出一系列緊迫的問題。

小教堂——一種西班牙式的教堂——作為一座宗教建筑，就位于這片飽受困擾的城市環(huán)境中。這座小教堂不僅是一處禮拜空間，也允許社區(qū)居民來訪，是一個兼具社會職能的綜合社交空間。

因為具有雙重功能，這個項目不能從傳統(tǒng)建筑的角度來理解，而更像是一個不存在主立面的覆頂廣場。它以充滿暗示的曲折形式吸引往來的過客，向他們發(fā)出坦率的邀請。

建筑內(nèi)部只有一個單獨的大空間，通過精心設計的開口獲得自然采光。一道采光的狹縫沿著墻面分布，照亮了建筑內(nèi)部。祭臺上方懸浮的面板后面掩藏著一處更大面積的開洞，將漫反射光引入空間，通過與屋頂折板照明燈具的結合，形成了有趣的幾何圖案。

由于預算有限，并且這里經(jīng)常（更多由于社會關系緊張、而非宗教差異）有被人投擲石塊或其他東西的危險，小教堂的外飾面設計成預留裂縫的樣子，維護起來簡單而經(jīng)濟。

一座出現(xiàn)在這種環(huán)境里的禮拜堂可稱得上是一件奢侈品。但建筑師們還是把它的諸多劣勢轉變?yōu)轫椖康膬?yōu)勢。他們通過充滿智慧的設計，鼓舞了整個社區(qū)去暢想和建設更美好的未來。

南部

位置：奇洛埃島，湖區(qū)

項目：奇洛埃島休閑中心

事務所：霍納斯·雷塔馬爾+勞拉·烏桑建筑師事務所

奇洛埃島屬于智利南部群島的一部分，總面積9000m2，有豐富的海洋資源、木材儲備和發(fā)達的旅游業(yè)。這些特點深深影響了這里的文化，并體現(xiàn)在許多建于17-20世紀、美輪美奐的教堂和海上樁屋中——海上樁屋是由許多從事捕魚業(yè)的人家沿著海岸線修建的架空木屋。

木材作為幾個世紀以來當?shù)氐闹饕ㄖ牧?，和它的加工建造工藝一起流傳至今。這份建筑遺產(chǎn)具有強大的力量，足以吸引和啟發(fā)每一位在這里開展項目的建筑師。然而，伴隨著三文魚捕魚業(yè)的增長、購物中心的到來和預制建筑的出現(xiàn)，這份遺產(chǎn)也受到來自群島自身發(fā)展的威脅，這些新的趨勢干擾了這里原本獨一無二的景觀。

奇洛埃島休閑中心作為一座酒店綜合體的組成部分，與當?shù)厣鷻C勃勃的景觀建立了深刻的聯(lián)系。整個項目沒有采用單一的大體量建筑形式，而是由一系列較小規(guī)模的獨立單元共同形成，每個小單元都強調(diào)了當?shù)氐牟煌幼》绞健?/p>

房屋之間通過自然小徑連接，由此形成的觀景點和過渡空間則為人們提供了隨意探索這片景觀的機會。

通過在場地上分散間隔布置各處空間，整個項目適應了場地的尺度，并只在必要的情況下才盡可能少地占據(jù)地面。此外，整個項目還采用了當?shù)氐慕ㄔ旒夹g，通過對木材及其彈性進行試驗，建造出建筑和屋面的有機弧面形式，把本土技藝推向了新的高度。

建筑采用的主要材料都源自當?shù)?，使用了生長于智利南部的本地木材。所有的房屋都建筑在用智利瓜伊特卡斯群島的柏木柱建成的架空結構上，主結構、飾面、窗戶和家具則使用了辛酸八角木、鋸齒類月桂、蘋果木ii、智利杉、智南柏和智利肖柏等木材。

結語

我們不應該把建筑理解為孤立的個體：房屋——作為“基本的建筑單元”——彼此之間必須建立起深刻而廣泛的聯(lián)系，這樣才能使許多“建筑”形成整體，共同推動更宏大的轉變過程。

那么，這樣強大的建筑應該如何融入城市的尺度，同時又不丟掉通過關注本土問題而獲得的敏銳度呢？這確實有些困難，如果考慮到南半球的飛速發(fā)展狀況和許多亟待在新尺度上進行干預才能得到解決的問題，僅有一些與眾不同的項目對城市進行“針灸式”的治療是遠遠不能滿足需要的。

城市和土地提供了基本的信息，建筑師需要認識它們并進行分析。只有這樣，思想才能轉化為設計原則，體現(xiàn)在建筑師的項目中，進而成為另一位建筑師設計項目的背景環(huán)境。如果我們的建筑和它的背景環(huán)境以及它面臨的各種挑戰(zhàn)都能形成深刻的聯(lián)系，那么，我們就有可能建立起一個由許多“好的”建筑所組成的強大網(wǎng)絡。我們希望這將會是解決之道。□

譯注：

i 原文為InternetWorldStats，簡稱IWS，是國際性的互聯(lián)網(wǎng)數(shù)據(jù)統(tǒng)計網(wǎng)站。

ii 在中國俗稱 “玉檀香”。

We can identify certain regional patterns relative to materials, construction techniques, spatial qualities, and aesthetic factors. Due to climate, economical, or social variables, some regions present stronger traditions, visible in buildings in obvious ways. In other cases, architecture has emerged spontaneously (without architects or dogmatic guidelines) through "young" and maybe less "expressive" territories, giving way to a more heterogeneous, less conspicuous identity.

In any of these two cases, ways of "doing the right thing" appear. Given their context, they are correct design operations as they respond directly to the specific context in which they are located. And this is exactly what we appreciate: projects that use architecture to tell us exactly which territory they belong to, projects that have embraced their context and efficiently address the purpose of the commission.

The following is architecture that we value today for allowing us to understand Chile's genuine local voice and showing us the way in which Chileans－from North to South－inhabit our territory.

North

Location: Taltal, Antofagasta Region

Project: Taltal Public Library

Office: Murúa Valenzuela Arquitectos

Taltal is a coastal town with 11,000 inhabitants, right next to the desert, created in 1877 to support the saltpeter industry. It was traced as a "checkerboard" and inhabited as instructed by the nineteenth-century government.

Its architecture is, mostly, spontaneous; the small houses at the center of the town are two-storied rowhouses to maximize the use of the plot. In this way, it generates a continuous facade towards the street. Its openings and other architectural elements gain protagonism at street level, and they are highlighted by the different colors painted by their inhabitants.

Among the houses and stores there are a few heritage buildings, a legacy of the prosperity of the saltpeter industry, including the Alhambra Theater (1921) and the Saint Francisco Javier Church (1890).

Its richness and architectural identity is found then in the facades; a scenography formed by geometrical patterns repeated through the city, gracefully hiding the messy interiors of the plot, only in evidence through the exposed dividing walls, and roofs that freely rise above them.

In this context the Taltal Public Library, the result ofan open competition, is located in a narrow elongated plot in front of the main square of the town.

With two-and-a-half levels, the height of the building is above average for Taltal; therefore, each side of the building (including its dividing walls) is treated as a facade, using textured concrete motifs inspired by nearby constructions. The section of the building, combined with an inner courtyard, was designed to allow for natural ventilation from its sides. These intermediate lateral spaces also function as skylights that bring light into the lower level.

The diversity of roofs in the context allows for the the building to have a plastic freedom in its roof design, with specific openings that let sieved light enter into the reading rooms.

The strong contrast between the exterior textures and an all-white interior make these design principles more clear. The interior is like a blank page, subtly touched by local references, in which users－mostly children－can write a new history through the magic of books. Therefore, the building supports, potentiates and reaffirms its valuable urban condition, adding to the existing landmarks, but with its own personality.

Center

Location: Talca, Maule Region

Project: Church(ita)

Office: Susuka, Juan Pablo Corvalán and Gabriel.

Located in Talca, the La Paz Village is a recent residential neighborhood for low- and middle-classes. Even if close to supermarkets, schools and a university campus, this low income area is where (good) architecture doesn't seem to have ever arrived.

This situation, endlessly repeated in Chilean cities, forces architects to find simple and efficient solutions. In this case the starting point of the design is not so evident, and its complex context shows a series of urgent problems.

Church(ita)－a Spanish adaptation of "church"－ is a religious building located in this troubled urban context. More than a worship space, the small chapel allows for the neighbors to meet. It is a collective social space with a social vocation.

Given this double function, the project is not conceived as a traditional building; it is like a covered plaza with no main facade. Its suggestive, twisted form intrigues passersby and extends an open invitation.

The interior is composed by a big single space, naturally lit by carefully designed openings. A thin line of light goes along most of its wall, lightening the building. Above the altar, a floating panel hides a larger opening that lets reflections into the space, generating an interesting geometrical combination in the illumination of the roof folds.

With a very low budget and under a constant threat of being attacked with stones and other objects (caused more by the social tension rather than for religious differences), its covering was designed as a pre-shattered surface, easy and cheap to fix.

In this context, a chapel in this context could be a luxury. But the architects made disadvantages work to the project's advantages. Through smart operations, they have inspired the community to imagine and build a better future.

South

Location: Island of Chiloé, Lakes Region

Project: Chiloé Leisure Center

Office: Jonás Retamal + Laura Houssin

Chiloé is part of an archipelago of more than 9,000sqm in the south of Chile, characterized by strong maritime, wood, and tourism industries. These aspects are very rooted into its culture, and they are represented in fantastic churches built between the seventeenth and twentieth centuries and in the palafitos－elevated wooden houses by the coast built by fishing families.

Wood, the main construction material in the area for centuries, and its building techniques are maintained today. This strong architectural heritage is powerful enough to inspire and seduce every architect who has the chance to operate in this place. Nonetheless, this heritage is endangered by the development of the archipelago itself, with the growth of the salmon industry, the arrival of shopping centers, and prefab buildings, that disrupt this unique landscape.

The Chiloé Leisure Center is part of a hotel complex deeply connected with the exuberant landscape. Instead of erecting one big building, the program is divided into a series of independent smaller structures, where each focuses on different ways of inhabiting the landscape.

The different buildings are subtly connected among themselves through natural paths, with lookouts and other intermediate spaces that allow random discovery of the landscape.

By dividing and dispersing over the territory, the project adapts to the scale of the place, and its footprint is minimal, touching the ground only when it needs to. In addition, the project takes the local building techniques to a whole new level, experimenting with wood and its plastic qualities to create buildings and roofs in curved and organic forms.

The main materials were obtained from the area, using native wood from the south of Chile. The buildings are erected on top of pilotis of Ciprés de las Guaitecas logs, while the structure, coverings, windows and furniture are made with Canelo, Tepa, Tenio, Ma?ío, Ciprés and Alerce wood.

Conclusions

Architecture should not be conceived as an isolated object: it is necessary that the building－the "basic architectural unit"－establishes deep and extensive relations so the sum of "architectures," to generate a greater transformation.

Therefore, how should this strong architecture fit into the urban scale without losing the sensibility of the decisions that are born from local issues? There lies the difficulty, as it is not enough with to have a few exceptional cases of urban "acupuncture," considering the rapid development of the Global South and the series of complex problems that require new scales of intervention.

The city and the territory provide fundamental information that needs to be acknowledged and analyzed by the architect. Their reflections then become design principles that evolve into projects that build a context for someone else. If our architecture is deeply connected with the context and its challenges, we will build a stronger network of "good" architecture. We hope that this will be the path.□

參考書目/Bibliography:

1. Rowan Moore. "Smiljan Radic's Serpentine pavilion –'The shape is not important'" 22 Jun 2014. The Guardian. Accessed Apr 2, 2015.

2. Towards a Critical Regionalism: Six Points for an Architecture of Resistance. Frampton, Kenneth.

3. Nicolás Valencia. "La explosión internacional de la arquitectura chilena" 30 Jul 2014. Plataforma Arquitectura. Accessed Apr 5, 2015.

4. Trish Lorenz. "Chilean architects gain global recognition". Jun 6, 2014. Financial Times. Accesed Apr 2, 2015

5. OECD. "OECD Broadband Portal" Feb 19, 2015 [Dat Last Updated]. OECD. Accedido Apr 2, 2015

6. "Denisse Espinoza. "Los arquitectos sub 40 que se la juegan por la docencia y el espacio público". Sep 29, 2014. La Tercera. Accessed Apr 2, 2015

7. The World Bank. "World Bank Open Data". Accessed Apr 2, 2015

8. Internet World Stats. "Internet User in the World. Distribution by World Regions - 2014 Q2". Accessed Apr 2, 2015

9. Vijay Prashad. "El renacimiento del Sur". May 30, 2014. Crónica ONU. Accessed Apr 2, 2015

The Current State of Chilean Architecture: A Genuine Voice from Global South

Global recognition and appreciation of Chilean architecture reinforces the steps that the South American country's architects have taken to distance themselves from the stereotypical view of Chile as a country in the corner of the world, set against an astonishing geography and away from any real urban issues. In the wake of rapid urbanization and economic growth, Chilean architecture has embraced austerity (because of need, not because of fashion) via the use of local, vernacular construction techniques. To understand the genuine local voice of Chile's latest architecture, one must consider how the influence of the Global North affected the architectural attitude of a country.

Chile, architecture, emerging economies, vernacular, local, geography, urbanism

ArchDaily網(wǎng)站西班牙語內(nèi)容編輯/Contents Editors, ArchDaily in Spanish

2015-05-15