智利本色

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，智利的國家和社會經歷了劇變，其建筑也因此受到了影響。

與大多數發展中國家一樣，快速的經濟增長與管理的不足為探索新建筑創造了空間，使上個世紀現代主義與國際主義風格的老樹發出新芽。

然而，這種經濟增長的轉變并未帶來其他發展中國家那樣的“過?！?。事實上，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，用本地的知識設計本地的方案，從而達到“少就是多”的高度創新，而非炫耀技術。正如普利茲克獎評委亞歷杭德羅·阿拉韋納所說，“建筑依靠的是材料而非產品”。這種理念給了智利建筑師一種與建造技藝密不可分的獨特審美，再加上這片國土獨特的迷人風光，智利建筑藉此譽滿全球。

新建筑的第一次大潮以私人項目為主——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智利公民受益的建筑。

這第一次大潮出現在轉型時期，與之前的快速增長有著密切聯系。不過，在過去的10年中，大幅度的改革緩解了教育、醫療和就業的不平等。這種社會變化已滲透到城市，即不平等的外化空間中，而建筑的使命就是克服社會分化，成為給每個公民創造機遇的沃土，而與人們的收入無關。

同時，智利的公共項目在不斷增加，著名的建筑也因此走入公民的日常生活。而最重要的是，這些項目的建筑師以投身這一社會變化為己任。在這個領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。本期中的項目所展現的正是智利建筑師對于這一崇高（而艱巨的）使命的執著，并證明建筑可以超越氣候、材料、傳統等諸多因素，以及現代主義建筑師曾倡導的自上而下的方法論。智利建筑與社會之間的新聯系源于自下而上的運動，將“本地性”的全部內涵放在首位。

教育是另一大問題，它將為新一代建筑師的成長奠定基礎。在智利南部，塔爾卡大學從其特殊的環境出發，培養了一類特殊的建筑師——這個地區所需的建筑師。塔爾卡大學的教學大綱要求畢業設計在實施后能夠成為該地區發展的一部分。這些即將走向社會的建筑師絕不能只是設計項目，還要為實現它尋找資金。這一過程將未來的建筑師帶上了創業之路，他們走出校門時不僅具備從業所需的技能，更有服務社會的抱負。

本期項目遍布在智利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智利社會。

這就是智利建筑與建筑師的本色?！?/p>

注釋:

1) 本期專輯項目以地理位置由北向南排序。在編輯過程中，智利北部發生了洪水與滑坡?？破啿ǖ目伎ㄈ鸪鞘泄珗@作為抗洪基礎設施，成功地實現了設計時的泄洪導流功能。公園雖已遭破壞，卻挽救了數千人的生命。由于是為泄洪設計的，公園很容易重建，并將繼續作為公共空間為科皮亞波市民服務。

2）參與本期專輯編輯的ArchDaily團隊成員包括：戴維·阿薩埃爾（主題），戴維·巴蘇爾托（主題、總協調、西班牙語翻譯），費爾南達·卡斯特羅、尼古拉斯·薩赫、達納?！ど５偻邇人梗椖拷M織與協調），貝基·昆塔爾（西班牙語翻譯），波拉·莫拉（謄寫）。

In the past decades, Chile－as a country and as a society－has 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網站創始人/Founders of ArchDaily

2015-05-10