建筑設(shè)計(jì)：溫杜拉加-德韋斯建筑師事務(wù)所

魯卡住宅，拉彭科亞，圣地亞哥，智利

建筑設(shè)計(jì)：溫杜拉加-德韋斯建筑師事務(wù)所

現(xiàn)代社會(huì)正面臨一個(gè)協(xié)調(diào)現(xiàn)代與傳統(tǒng)的挑戰(zhàn)。全球化曾使祖先的文化得以傳播從而造福人類，但現(xiàn)在人們卻需要努力使其保持可識(shí)別性。在這種復(fù)雜的背景下誕生了下面這個(gè)項(xiàng)目。

該項(xiàng)目源于一個(gè)小型馬普切部落，他們想要融入現(xiàn)代社會(huì)但不希望為此破壞祖先的傳統(tǒng)與信仰。

項(xiàng)目設(shè)計(jì)是部落、建筑師和贊助商共同參與的結(jié)果。我們?cè)谝婚g魯卡里進(jìn)行了討論，族人們介紹了他們的歷史、傳統(tǒng)以及阿斯馬普理念，其中包含建立馬普切與可見(jiàn)及不可見(jiàn)世界之間關(guān)聯(lián)的領(lǐng)地、政治、社會(huì)、文化和宗教原則。

由于這是一個(gè)享受住房與城市建設(shè)部補(bǔ)貼的社會(huì)性項(xiàng)目，住宅的設(shè)計(jì)需要遵循當(dāng)局對(duì)此類建筑提出的一系列規(guī)范。規(guī)范里集中討論了宜居性方面的技術(shù)，并沒(méi)有考慮馬普切部落提出的關(guān)于獨(dú)特性與文化方面的要求。

這些住宅在水平向上連成排，房屋的主立面都面向東方。這源于部落提出的一項(xiàng)基本要求，他們祖先的傳統(tǒng)是正門要朝向太陽(yáng)升起的方向。在住宅和山之間，我們?cè)O(shè)計(jì)了一個(gè)公共空間，它類似于一個(gè)傳統(tǒng)的城市空間，也是通往住宅的必經(jīng)之路。項(xiàng)目在重復(fù)性建造的同時(shí)并不排斥每棟住宅的個(gè)體表達(dá)，以回應(yīng)魯卡在自然景觀中的孤立感。

建造采用了傳統(tǒng)手工磚和鋼筋混凝土框架，表達(dá)了其在外觀與結(jié)構(gòu)上的一致性。用浸漬過(guò)的松木作為斜撐，不僅定義了建筑前后立面的特色，同時(shí)也是地震中支撐側(cè)墻的結(jié)構(gòu)元素。立面上的墻和窗戶由安第斯山南部地區(qū)特有的蘆葦桿做成的雙層表皮覆蓋。蘆葦桿之間的最小距離使光線可以滲透到室內(nèi)，同時(shí)也展現(xiàn)了作為該項(xiàng)目靈感之源的傳統(tǒng)元素。

這些61m2的房屋被分隔成兩層。內(nèi)部功能很簡(jiǎn)單，起居室和廚房在一層。起居室比通常的社會(huì)住宅中的大，因?yàn)榭紤]了馬普切傳統(tǒng)中火（廚房）的重要性。樓上有兩間臥室和一個(gè)衛(wèi)生間。室內(nèi)沒(méi)有裝飾而是一個(gè)裸露的居住結(jié)構(gòu)，每個(gè)家庭可以按照各自的方式和喜好完成進(jìn)一步裝飾。盡管根據(jù)政府規(guī)定，房間設(shè)計(jì)的功能常規(guī)化而中性，室內(nèi)幽暗、破碎的光線仍使人聯(lián)想起魯卡的昏暗氛圍，也把它們與外部城市隔絕。設(shè)計(jì)明確限定了室內(nèi)與室外，即馬普切傳統(tǒng)中的對(duì)立世界，而不同于現(xiàn)代社會(huì)室內(nèi)外互相滲透的做法。

我們的責(zé)任超越了建筑師的職責(zé)，而是要在馬普切夢(mèng)想和可能的現(xiàn)實(shí)之間搭建一座橋梁……我們所走的這條道路將把我們引向兩種文化的交融之所……這也正是我們美洲人的歷史?！酰ㄐ翂?mèng)瑤 譯）

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architects: Cristián Undurraga

合作者/Collaborators: Pablo López, Raimundo Salgado Salas, Jean-Baptiste Bruderer

結(jié)構(gòu)工程/Structural Engineering: José Jiménez- Rafael Gatica Ingenieros

承建方/Contractor: EBCO Constructora

建筑面積/Floor Area: 1537.5 m2

設(shè)計(jì)時(shí)間/Design Period: 2009-2010

建造時(shí)間/Construction Period: 2011

攝影/Photos: Guy Wenborne

1 地段位置/Location

The challenge we have as a society is to reconcile the aspects in which globalization has brought progress for humanity with the values of the cultures that preceded us and that now struggle to keep their identity alive. Within this difficult context is inscribed the project described below.

This initiative arose from the people in a small Mapuche community who were willing to participate in modern society, but didn't want this to lead to an impairment of their ancestral traditions and beliefs.

The design of this project was the result of participatory work between the community, the architects, and the sponsoring institutions. In the dialogues which took place in a ruka, we were taught their history, traditions and worldview: the Az Mapu. In it are contained the principles that establish relations between the Mapuche and the visible and invisible world: territorial, political, social, cultural and religious.

2 外景/Exterior view

As this is a social project that benefited from the subsidy granted by the Ministry of Housing and Urban Development, the design had to necessarily adhere to a strict set of rules that the institution requires for such homes. The manual, focusing on technical aspects of habitability, did not consider the peculiarities and cultural aspects that the Mapuche community demanded.

The houses are grouped continuously on a horizontal level, thereby allowing the length of the main facade to face east. This provision, required by the ancestral tradition of opening the front door of the house toward the rising sun, was the primary requirement from the community. Between the houses and the hill we designed a public space, similar to traditional urban space. From there is the access to the houses. The continuous construction of the project did not exclude the individual expression of each house, echoing the rukas isolated in the landscape.

As a construction technique, the artisanal tradition of brick and reinforced concrete frame was used, expressing the correspondence between the appearance and structural nature of the project. The diagonal made of impregnated pine wood that characterizes the main and rear facades is a structural element that braces the side walls in case of an earthquake. A double skin of "ca?ada de coligüe" covers the wall and windows of these facades. The minimum distance between the rods allows the passage of light filtered inside, while at the same time displaying the tradition that inspired the project.

The 61 square meter home is divided into two floors. Inside, the program is simple: the living area and kitchen are on the ground floor. The latter is larger than in similar social housing, as it considers the importance of "fire" (kitchen) in Mapuche tradition. Upstairs there are two bedrooms and one bathroom. The interior was given to the residents as a bare inhabitable structure, allowing each family to build finishes according to their means and taste. Notwithstanding the conventional program and the neutrality of the rooms (product of ministerial regulations), the dim and fragmented light inside evokes an atmosphere that reminds us of the darkness of the rukas, separating them from what happens outside in the city. This strategy also defined crisply the interior and exterior opposed worlds in the Mapuche tradition, different from the modern tradition where interior and landscape are continuously integrated.

Our task, rather than that of architects, was to build a bridge between the Mapuche dreams and possible reality… The path we took would necessarily lead us to the mixing of two cultures … That is, the history of our America …□

3 外景/Exterior view

4 細(xì)部/Details

評(píng)論

王路：如何將傳統(tǒng)價(jià)值融入現(xiàn)代社會(huì)？我們?cè)谶@里找到了一個(gè)范本：即使是一個(gè)社會(huì)性項(xiàng)目，通過(guò)與業(yè)主、贊助商的共同努力，在尊重部落的傳統(tǒng)與信仰、滿足現(xiàn)代技術(shù)規(guī)范要求的前提下，考慮建筑的布局、朝向和光感氣氛的營(yíng)造，應(yīng)用傳統(tǒng)的材料和簡(jiǎn)單的建造，賦予了魯卡住宅以很強(qiáng)的可識(shí)別性，構(gòu)成具有文化真實(shí)感的場(chǎng)所。

方曉風(fēng)：通常建筑被認(rèn)為是與富貴聯(lián)姻的藝術(shù)，但包豪斯校舍當(dāng)年引起關(guān)注的一個(gè)重要原因是其不可思議的廉價(jià)。早期現(xiàn)代主義建筑師懷揣社會(huì)主義理想，承襲工業(yè)革命的邏輯，這是其值得尊重的地方，但資本和權(quán)力很快扭曲了一切。這是個(gè)在極限條件下完成的設(shè)計(jì)，種種約束之下，建筑師仍著意表達(dá)對(duì)少數(shù)族群文化的尊重，讓人感佩。讓人們能夠雖貧窮而不失體面地生活，這是巨大的善意。

5 首層平面/Floor 0 plan

6 二層平面/Floor 1 plan

Comments

WANG Lu: How to integrate traditional values into modern society? We have found a model in the Ruca dwellings, a social project realized through the combined efforts of architects, proprietors and sponsors. It values the community's ancestral traditions and beliefs while following modern technological standards, on the basis of which the building's layout and orientation are conceived together with the creation of light atmosphere. Traditional materials and simple construction techniques are applied to endow the Ruca dwellings with a distinctively authentic cultural identity.

FANG Xiaofeng: Architecture is often regarded as an art wedded to wealth, but an important reason for contemporary attention aroused by the Bauhaus school building was its inconceivable low price. In the early stage of Modernism, architects embraced socialist ideals and inherited the logic of the Industrial Revolution, which was quite respectable, but very soon capital and power contorted everything. Despite extreme conditions and numerous constraints under which this project was carried out, the architects admirably strove to express respect for minority culture in their design. Making it possible for the poor to live out a decent life, this is an immense goodwill.

Ruca Dwellings, La Pincoya, Santiago, Chile, 2011

Architects: Undurraga Devés Arquitectos

7. 8 內(nèi)景/Interior views