智利天主教大學-安赫利尼創新中心，圣地亞哥，智利

建筑設計：元素建筑事務所

智利天主教大學-安赫利尼創新中心，圣地亞哥，智利

建筑設計：元素建筑事務所

1 外景/Exterior view

2011年，安赫利尼公司決定創立位于智利天主教大學圣華金校區的創新中心，旨在借此實現企業商業需求、研究人員和藝術院校知識創新進程之間的緊密聯結，進一步加速知識傳遞、創造商業機會、促進資源升值、增加專利數量，從而提升國家發展競爭力。

在這一前提下，通過空間引導人群的4種行為便成為建筑方案的設計重心——正式、非正式工作之間的有機整合，以及個人、群體交流機會的巧妙融入。我們認為，面對面交流是知識誕生的最佳方式，因此，整座建筑中充滿了促進人與人相遇的場所。人們可以在電梯廳的長椅上與陌生人分享有趣的信息，也可以在上樓時經由通透中庭觀察其他人的行為，還可以在空中平臺進行自由的交流活動。

從功能、環境和建筑本體出發，方案對典型辦公空間的平面模式進行了反轉。玻璃幕墻圍護的實體核心被實體外墻中的開放內核替代，并輔以精心設計的外墻開窗。

雖未明確提出，但客戶仍希望創新中心具有“當代外觀”。然而，由于盲目追求當代性，如今的圣地亞哥已經玻璃塔樓成群。受到當地沙漠氣候的影響，這些塔樓室內會產生嚴重的溫室效應，空調運行造成的能耗損失巨大。但避免室內熱量增加并非難事。這座建筑采用的方式是：將外墻換成厚重的實體材料，而玻璃窗嵌入深陷的凹槽中，既能避免陽光直射，又能保證對流通風。由此，該建筑的年耗能僅有45kw/m2, 遠低于圣地亞哥典型玻璃塔樓的120kw/m2。在玻璃塔樓中，由于辦公空間遮陽需求而被迫增加的窗簾、百葉等，使得所謂的透明性變成無意義的修辭。相比之下，實體外墻不僅具有能源效益，還可以大大減弱強烈光照，同時也避免了使用者人為改動建筑空間的局面。這樣看來，對文脈環境的呼應只是嚴格遵循常識罷了。

另一方面，我們認為對創新中心來講最可怕的是，建筑因功能和形制的過時而逐漸荒廢。因此，拒絕使用玻璃幕墻，絕不僅出于環境品質的考慮，更是在竭力探尋一種能經歷時間考驗的建筑。從功能角度出發，避免過時的最佳手段是將建筑視為基礎設施一般進行設計：簡潔明了的墻體結構結合四角的構造筒體，為將來的改造和更新提供更多靈活的可能性。

從建筑學角度出發，使用絕對幾何形體和完整物質構成，也正是令永恒性代替時新性的一種方式。□（陳茜 譯）

2 外景/Exterior view

項目信息/Credits and Data

客戶/Client: Grupo Angelini, Pontificia Universidad Católica de Chile

主持建筑師/Prncipal Architects: Alejandro Aravena, Juan Cerda, Gonzalo Arteaga, Víctor Oddó, Diego Torres

合作者/Collaborators: Samuel Gon?alves, Cristián Irarrázaval, álvaro Ascoz, Natalie Ramirez, Christian Lavista, Suyin Chia, Pedro Hoffmann

結構工程/Structural Engineering: Mario Alvarez/Sirve S.A.

電力工程/Electrical Engineering: Carlos Gana/Ingenieria y

Proyectos ICG y Cía. Ltda

機械工程/Mechanical Engineering: Sirve S.A.

現場監理/Site Supervision: Juan Cerda

能效管理/Energy Efficiency: Bustamante y Encina Asesorías en Sustentabilidad

獨立審核/Independent Revision: Gerardo Sepúlveda/S&C Revisores de Edificación

管道工程/Plumbing Engineering: Vivanco y Vega Ltda.

空調工程/Air-condition Project: Gustavo Concha/A&P Ingeniería

地段面積/Site Area: 455.351m2

總建筑面積/Total Floor Area: 8176m2(建筑面積/building area) ，12,494m2(停車面積/parking area)

材料/Materials: 鋼筋混凝土，鋼，木，玻璃/Reinforced concrete, steel, wood, glass

造價/Cost: 18,000,000USD

設計時間/Design Period: 2011-2012

建造時間/Construction Period: 2012 -2014

攝影/Photos: Nicolás Saieh

3 首層平面/Floor 0 plan

6 五層平面/Floor 4 plan

5 三層平面/Floor 2 plan

4 二層平面/Floor 1 plan

7 八層平面/Floor 7 plan

In 2011, Angelini Group funded the creation of a center where companies, business ones and others, could share with researchers and the art university ideas and developments. The aim was to contribute to the processes of transferring know-how, of identifying business opportunities, of adding values to existing resources, of registering patents in order to improve the country's competitiveness and consequently its development. The Universidad Católica de Chile was to host such a center in its San Joaquin Campus.

Our proposal to accommodate such goals was to design a building in which at least 4 forms of space could be verified: a matrix of formal and informal areas where individual and teams could work and encounter other researchers. In addition to that, we thought that face to face contact is unbeatable when one wants to create ideas, so we multiplied throughout the building the number of places where people could meet: from the elevator's lobby with a bench to sit on if you happen to run into somebody that has interesting information to share, to the transparent atrium where you can sneak into what others are doing while circulating vertically and to the elevated squares throughout the entire height of the building.

The reversal of the typical office space planning (the opaque core with transparent glass curtain walls on the perimeter is replaced by an open core with massive walls strategically opened on the perimeter) had functional, environmental and architectural reasons.

There was a kind of unspoken expectation of the client: an innovation center had to have a "contemporary look", but the uncritical search for contemporariness has populated Santiago with glass towers that have serious greenhouse effect in interiors due to the local conditions of desert climate. Such towers cause a huge amount of energy consumption for air conditioning. The way to avoid undesired heat gains is not rocket science; it is enough to place the mass of the building on the perimeter, to have recessed glazing to prevent direct sun radiation and allow for cross ventilation. By doing so we reduced from 120 kW/m2/year (the consumption of a typical glass tower in Santiago) to 45kW/m2/year. Such an opaque facade was not only energetically efficient but also helped to dim the extremely strong light that normally forces people to protect the interior working spaces with curtains and blinds that transform in fact the theoretical initial transparency into a mere rhetoric. In that sense the response to the context was nothing but the rigorous use of common sense.

On the other hand, we thought that the biggest threat to an innovation center is obsolescence, functional and stylistic obsolescence. So the rejection of the glass facade was not only due to the professional responsibility of avoiding an extremely poor environmental performance, but also a search for a design that could stand the test of time. From a functional point of view, we thought the best way to fight obsolescence was to design the building as if it were an infrastructure rather than an architecture. A clear, direct and severe wall structure with big shafts in all corners is in the end the most flexible way to allow for continuous change and renewal.

From an architectural point of view, we thought of using a rather strict geometry and strong monolithic materiality as a way to replace trendiness with timelessness.□

8 外景/Exterior view

9 內景/Interior view

評論

饒小軍：顯然，設計師并沒有從現代主義建筑對于空間的探索中退卻，而是采取了一種批判性的立場，對于國際化的建筑風格提出正面挑戰。拒絕現代辦公樓建筑的玻璃幕墻做法，而采用內外空間的沖突對比的手法：將建筑施以厚重的外墻和深凹的窗洞，而內部中庭空間則盡可能的通達透明，外實內虛，剛柔并濟。設計師期待這種空間的體驗由此變成一種內向的“面對面”交流，空間場所有助于人們的思想碰撞和知識傳遞，從而激發出更多的價值與意義。

李曉鴻：自由、靈活同時有著規則柱網的平面，創造出了許多人們可以相遇交往的空間，也許是在電梯廳的長椅上，或者是令人向往的空中平臺。這些典型的現代主義建筑的特征，加之為了抵御圣地亞哥炎熱的氣候環境影響，所采用的實體外墻、精心的開窗等處理，都讓人聯想起貝氏1960年代的美國國家大氣研究中心。設想一下，在炎熱的沙漠氣候環境中，比起被認為具有“當代性”外表的玻璃塔樓，人們在這個實體外圍護結構里具有開放內核的空間中，是不是會涼爽、舒適得多呢？

Comments

RAO Xiaojun: Apparently, the designers did not withdraw from Modernist architectural exploration of space; on the contrary, they took up a critical stance, directly challenging the international architectural style. Instead of glass curtain walls commonly used in modern office buildings, the project adopts an approach of conflict and contrast between exterior and interior spaces: the building is clad in thick and heavy exterior walls with deeply concave window openings, while the interior atrium space is made as transparent as possible, hence the well-coupled hardness of solid

exterior and softness of void interior. The designers expect this kind of spatial experience to become an introspective "face-to-face" communication, a place for the collision of ideas and transmission of knowledge, which stimulates greater value and significance.

LI Xiaohong: A free, flexible plan with regular column grid has created a variety of spaces for people to meet and communicate, be it benches in the elevator lobby or desirable platforms in the air. These typical Modernist approaches, together with solid exterior walls and windows meticulously designed to resist the impact of Santiago's scorching climate, remind one of I.M. Pei's design for the National Center for Atmosphere Research in the 1960s. Imagine being in the scorching desert, compared to the kind of glass towers with supposedly "contemporary" trappings, wouldn't this open core space protected by solid exterior structures make one feel much cooler and more comfortable?

Innovation Center UC – Anacleto Angelini, Santiago, Chile, 2014

Architects: Elemental

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11 2-2剖面/2-2 Section