波拉·莫拉/Pola Mora

尚晉 譯/Translated by SHANG Jin

智利建筑事務(wù)所的經(jīng)營之道

Running an Architecture Practice in Chile

波拉·莫拉/Pola Mora

尚晉 譯/Translated by SHANG Jin

ArchDaily在勾勒全球建筑行業(yè)形勢的7年時間中，對世界各地的建筑師進(jìn)行了大量訪談。這些訪談與照片和技術(shù)資料相輔相成，讓我們通過全面的建筑信息走近建筑師，去理解其思想和經(jīng)驗。這種第一人稱的視角是建筑師彼此溝通經(jīng)營方式的重要手段，同時也是傳遞知識的有效途徑，對于青年建筑師更是意義重大。

通過向知名和新興的事務(wù)所提出一系列問題，我們得以窺探當(dāng)下建筑文化的形勢。以下內(nèi)容是17家智利知名事務(wù)所對“能和我們講講你經(jīng)營建筑事務(wù)所的親身經(jīng)驗么？”這個問題的回答。其中既有青年事務(wù)所橫向/Lateral，也有在智利歷史和政治上舉足輕重的人物費爾南多·卡斯蒂略，以及智利全國建筑大獎得主路易斯·伊斯基耶多和維克托·格賓斯。

從筆者在2010-2015年進(jìn)行的這些訪談中，我們看到了在智利這片土地上經(jīng)營建筑事務(wù)所的特殊含義。這些內(nèi)容被按照主題分組：堅守與技藝、小團隊與協(xié)作、如何面對委托項目以及與客戶的關(guān)系、團隊合作的重要性，最后是智利的建筑競賽對于事業(yè)發(fā)展的價值。

1 堅守與技藝

許多建筑師都不約而同地表示，智利的建筑教育與行業(yè)實踐是嚴(yán)重脫節(jié)的。大學(xué)為學(xué)生提供的技術(shù)非常有限，使他們不得不通過在知名事務(wù)所中的工作來獲得最關(guān)鍵的知識，而后才能走上自己的發(fā)展道路。

面對著充滿未知和挫折的未來之路，堅守和嚴(yán)謹(jǐn)是獨立經(jīng)營事務(wù)所需要的首要品質(zhì)。

費利佩·阿薩迪：我看到有很多青年建筑師在創(chuàng)立自己的事務(wù)所，但半數(shù)都在失敗之后又成了其他事務(wù)所的雇員。我想他們需要的是投入，全身心的投入。建筑項目周期都很長，不是一蹴而就的。我們不會設(shè)計一個垃圾桶，然后加工、組裝，再把它賣掉。建筑項目動輒就要花上兩年，特別是在初創(chuàng)時期。所以就會有停滯期，特別是業(yè)務(wù)不景氣的時候。但我們需要的是耐心和堅守。

吉列爾莫·埃維亞：經(jīng)營自己的建筑事務(wù)所可以是一個美好的夢想，可一旦開始或許就只是一場夢了。我在學(xué)生時代就有過工作的經(jīng)歷。先是卡洛斯·阿爾韋托·克魯斯·克拉羅事務(wù)所的繪圖員，我在那里學(xué)會了守紀(jì)、嚴(yán)謹(jǐn)和耐心。他后來又帶我走上了新的高度，因為他有好的客戶，做的項目可以和發(fā)達(dá)國家媲美。

恩里克·布朗：大學(xué)教育是非常重要的，但理解工藝以及如何創(chuàng)造、如何將其實現(xiàn)并最終建成，同樣不可或缺。從一張桌子到一座大型建筑，都必須是切實可行的，并理性地考慮預(yù)算等因素。這就是技藝成熟的時刻。那么如何去實現(xiàn)呢？在我看來理想的情況是，建筑師一畢業(yè)就到中上等的事務(wù)所去工作。他們很可能免不了被打被罵，還得加倍努力。一開始是畫門窗，會非?？鄲?，但這是掌握技藝的必經(jīng)之路，它是無價的。因為如果要自己從頭學(xué)起，花的時間會更長，困難更多。而在一家好的事務(wù)所，一切都已成熟定型。

橫向事務(wù)所：工作中的堅守是根本。我們的行業(yè)就是大浪淘沙，優(yōu)勝劣汰。因此，只把事情做好是不夠的，還需要優(yōu)秀而執(zhí)著的團隊。所以我們要再次強調(diào)，工作中的堅守是根本。工作的時日越久，成果就越豐碩。

羅德里戈·杜克：就我而言，在獨立開創(chuàng)事務(wù)所之前的工作為我打下了基礎(chǔ)。一方面是學(xué)技藝，另一方面是培養(yǎng)信任——既是對自己的，也是對周圍人的……所以我認(rèn)為，在好的事務(wù)所的工作經(jīng)驗是很重要的，在那里積累的工作經(jīng)驗給了我自立門戶的機會。

馬克斯·努涅斯：和所有創(chuàng)業(yè)一樣，經(jīng)營自己的事務(wù)所都需要努力、專注和決心。就算眼下穩(wěn)定，來年的光景如何，誰也說不好。但我倒是覺得，正是這種不確定性會讓你把每個建筑都當(dāng)成收官之作。

克里斯蒂安·溫杜拉加：我畢業(yè)時覺得惟一的選擇是獨立創(chuàng)業(yè)，但談何容易，因為大學(xué)只給了有限的訓(xùn)練。還有很多東西是從實際技藝中學(xué)到的。要從零起步絕非易事。所以我們選擇了繼續(xù)學(xué)習(xí)，彌補大學(xué)之外的空白。

2 小團隊與合作

智利的建筑事務(wù)所一般都比較小，人員數(shù)量會隨項目的多少浮動，通常不會超過15位建筑師。這種小團隊的管理有著得天獨厚的優(yōu)勢，因為可以有一個人從概念到施工把握項目的全過程。

項目的規(guī)模帶來了一種近乎手工藝的建筑工作方式——建筑師與建筑一對一。而要承擔(dān)更大的項目就要與其他事務(wù)所合作。這種合作不僅讓事務(wù)所能在不擴充團隊的情況下完成大型項目，更為青年人提供了與成熟建筑師合作設(shè)計大型項目的機會。本文中由克里斯蒂安·費爾南德斯與橫向事務(wù)所合作完成的加夫列拉·米斯特拉爾文化中心就是一個很好的例子。

馬克斯·努涅斯：我們的事務(wù)所一直在與小型團隊合作，這讓我們能貫穿項目的始終，并把握施工情況和客戶關(guān)系。我想這是一種非常好的經(jīng)驗——從小項目開始，經(jīng)過長期積累再發(fā)展到大型項目。

克里斯蒂安·費爾南德斯：我的事務(wù)所其實是我和父親共同的事務(wù)所克里斯蒂安·費爾南德斯·科克斯的延伸——我和父親的事務(wù)所曾經(jīng)獲得過智利全國建筑大獎。我自己經(jīng)營事務(wù)所已經(jīng)有15年。團隊的大小也在變化，有時只有三四個人，而現(xiàn)在因為工作量很大，一共有30個人，都是建筑師。我沒有合作伙伴，因為我喜歡有自己的團隊，可以一起工作很多年。

克里斯蒂安·溫杜拉加：我已經(jīng)工作了快35年，而我們的事務(wù)所相對較小。每個項目都是以手工藝的方式完成的。我們從來沒有超過15個人，現(xiàn)在我們就是10個人。

羅德里戈·杜克：我們的事務(wù)所比較小，開業(yè)以來就在3～6人之間浮動。我們與其他建筑事務(wù)所合作承擔(dān)大型項目，不會讓團隊膨脹。

橫向事務(wù)所：我們的事務(wù)所是網(wǎng)絡(luò)化合作的一個典型。所有的項目中很少有我們獨立完成的，幾乎都是合作?；蛟S這是我們的個性所致。作為一個年輕的事務(wù)所，沒有豐富的作品集去贏得項目，我們就必須尋找與大型事務(wù)所合作的機會，以便在他們的引導(dǎo)下參與大型項目。通過這種方式，我們年紀(jì)輕輕就能接觸到不少大項目。

3 面對委托項目與客戶

訪談的建筑師都強調(diào)與客戶的密切關(guān)系。這能讓他們突出建筑創(chuàng)作中的手工藝特征，并持續(xù)跟進(jìn)項目的每個階段。

獨立建筑事務(wù)所的艱苦卓絕之處在于，項目初期需要很長時間來理解和深化客戶的需求。多數(shù)時候，委托項目必須由事務(wù)所的創(chuàng)始人來把握。因此他必須同時處理多個項目，而通常規(guī)模不大，讓他可以掌握實施的每個細(xì)節(jié)，并進(jìn)行新的嘗試。

費爾南多·卡斯蒂略·貝拉斯科：建筑空間的筑夢者與委托人之間的關(guān)系是第一位的。這是基礎(chǔ)，建筑師為此不僅要發(fā)現(xiàn)委托人心中與眾不同的夢，更要看到眾人的夢。這種文化交流是創(chuàng)造建筑的原點……因此建筑師不止是創(chuàng)造者，更是釋夢者……他不僅能發(fā)現(xiàn)委托人對某種空間的夢想，更能看到社會、國家的理想與未來……智利建筑師不可忘記，他所背靠的大山之外是無邊的大海。

馬賽厄斯·克洛茨：建筑作為一種技藝是需要時間來培養(yǎng)的。對我而言，這是一個學(xué)習(xí)設(shè)計和建造的緩慢過程。所謂設(shè)計就是要充分理解委托任務(wù)，并用合適的方案作出回答，再以合理的方式去實現(xiàn)。這就是我作為一名建筑師的工作。盡可能深刻地理解委托任務(wù)，理解客戶，理解需求。

During seven years of existence, and in an attempt to better understand the global architectural landscape, ArchDaily has conducted a significant number of interviews with architects from different parts of the world. As a complement to the information that a building can deliver through photos and technical material, an interview allows us to get closer to an architect, from his or her ideas and experiences in the profession. This first person reflection becomes a valuable tool that allows the community of architects to understand how their peers are operating, and at the same time, allows for a transfer of knowledge which is highly valuable for young architects.

Through a series of questions, conducted with both established and young firms, we obtain a glimpse into the current landscape of our architectural culture. The following excerpts, taken from answers to the question "What can you tell us about your experience running an architecture practice?,"represent the experiences of seventeen renowned Chilean practices－from young studios such as Lateral, to important figures in the history and politics of Chile such as Fernando Castillo, including laureates of the Chilean National Prize for Architecture such as Luis Izquierdo and Victor Gubbins.

From these interviews－conducted between 2010 and 2015 by our Editor in Chief－we've found a series of interesting ideas about what it means to run a practice in a specifically Chilean context. The responses are grouped according to topic: perseverance and craft the size of the team and the importance of working in association with others, architecture as a lifestyle, how to face a commission and the relationship with the client, the importance of teamwork, and finally the importance of competitions as a career platform in Chile.

1 Perseverance and craft

Many architects coincide in their belief that architectural education in Chile is very disconnected from professional practice. Universities only provide graduates with a limited set of tools,forcing them to obtain critical knowledge by working at an established firm before forming their own independent practice.

Considering that the road ahead comes with varying degrees of uncertainty, and frustration, perseverance and rigor are the most important attributes required to face the challenge of running an independent firm.

Felipe Assadi: I've seen many young architects who have tried to start out on their own, and half of them don't make it and go back to be employees at other offices. I think you need to jump in, and jump in big. Architectural projects involve a long period of time, they are not instant. I don't design a trash bin, assemble it, fabricate it, and sell it. An architectural project can take two years easily, especially when you are starting out. There are dead times, especially when there is a low amount of work.But you need to be patient and perseverant.

Guillermo Hevia: To have your own architecture firm can be pretentious, maybe just a dream once you start (your career). I had the opportunity to work while I was a student. First, as a draftsman at the office of Carlos Alberto Cruz Claro, who taught me discipline, rigor, and patience. He gave me the opportunity to look from a high level, maybe because he had good clients, doing very good works in the same way as (it was) in developed countries. Enrique Browne: It is very important to have university education, but there is something about the craft, about knowing how to make things, how they are turned into reality, they have to be eventually built. From a table to a large building. They need to be feasible, within budget, they need to be rational, etc. That is when you achieve the craft. And how do you achieve this craft? I think that the ideal is that an architect, once he graduates, works at a good or somewhat good architecture office. Probably they will be beaten, they will have to work very hard.... at the beginning drafting plans of doors and windows, which can be boring, but they let you live the craft. This is invaluable, because to learn it on your own takes much longer, there are many setbacks, while if you are at an established firm everything is already working.

Lateral: Perseverance in work is fundamental. Our profession has many highs and lows, generating many quitters. It's not enough to do things well, but also to have a good and devoted team. Again, perseverance in work is fundamental. The longer you work through the day, the better the results.

Rodrigo Duque: In my case the work I did before establishing my own practice was fundamental; on one hand, you learn the craft, but on the other you generate confidence, a self confidence and confidence among the ones around you (...) to me, that previous work at a good firm was fundamental, and to do that work in a good way gave me the opportunity to set up my own practice.

Máx Nu?ez: As any independent endeavor, it takes a lot of effort, dedication, and resolve. And it has an amount of uncertainty of not knowing if you'll have the same stability in one more year. But I do believe that that uncertainty makes you think of each building as if it was our last.

Cristian Undurraga: Once I graduated I thought that the only option was to practice in an independent way, and it wasn't easy as the university only gives you partial training. There are a series of things that you learn through the craft. To start the profession with little or no craft is not easy. Therefore, what we did was to continue studying and try to bridge the gap of the things that the university didn't give us.

2 On small teams and the partnerships

In Chile, architecture practices are, in general, small and the number of people fluctuate depending on the current number of projects being done. To manage a small team, which usually never contains more than 15 architects, is a very valuable trait, as it allows one to thoroughly oversee of each stage of the project, from conception to construction.

This scale of work is seen as a more artisanal way of practicing architecture－a 1-to-1 involvement of the architect with his work, that leads him to partner with other practices for larger projects. These partnerships not only allow for practices to take on larger projects without growing their teams, but also serve as an opportunity for young architects to develop larger projects in association with experienced architects. A good example of this is the Gabriela Mistral Cultural Center (presented in this issue), a partnership between Cristian Fernandez and Lateral.

Max Nú?ez: Our office has always been working with a small group of people, and that has allowed us to develop a project from the start to the end, overviewing construction and client relations. This, I think, has been a very good experience, starting with small projects that over time have evolved into larger scale ones.

LAND建筑事務(wù)所：我們總想給客戶超預(yù)期的成果。但萬事開頭難，所以就要加倍努力。多數(shù)時候困難重重，而經(jīng)濟情況又十分復(fù)雜。項目周期長就很難運轉(zhuǎn)。不得不額外付出，以便穩(wěn)定收支，實現(xiàn)飛躍。

吉列爾莫·埃維亞/GH+A事務(wù)所：GH+A是1983年成立的，業(yè)務(wù)集中在……我所能做的一切！一旦開始做建筑，哪怕只是嘗試，就需要尋找委托項目。但很多時候沒那么幸運，也沒那么多機會。我們是從住宅和小項目做起的。后來有了一個工業(yè)項目的機會，我想這就是命運——在智利還沒有建筑師關(guān)注這一領(lǐng)域的時候，一個全新的視野呈現(xiàn)在了我們面前。

路易斯·伊斯基耶多：我們做過的項目類型非常豐富，從家具設(shè)計到大型地產(chǎn)項目，還有公共競賽……來者不拒。

維克托·格賓斯：對我來說，建筑是一種生活方式、一種激情。建筑是我的事業(yè)，讓我永遠(yuǎn)在學(xué)習(xí)。它的魅力在于，每個項目都是一次新的挑戰(zhàn)。我們在設(shè)計國家電視大廈時，還從未有過電視臺的項目經(jīng)驗。在與埃內(nèi)斯托·拉貝合作設(shè)計圣地亞哥電視大樓之前，也沒做過電視臺。通常，人們會去看別人在做什么，而我們更愿意與人交談。

費利佩·阿薩迪：我在1999年開創(chuàng)了自己的事務(wù)所，可以說白手起家。最初的事務(wù)所是一扇木門，還有母親留給我的兩架木鋸，然后我就開工了。畫圖，做模型，打電話，去市政府。我投入了全部身心，用兩年時間完成了第一個作品——施密特住宅……讓它成為完美無瑕的作品，并因此獲得了兩個新的委托項目。

4 團隊合作的重要性

訪談建筑師共同的經(jīng)驗讓我們看到了團隊合作的重要意義。團隊中的碰撞將創(chuàng)造出卓越的設(shè)計方案。不少事務(wù)所都是由能力各異又相輔相成的建筑師夫妻主持的。這種戰(zhàn)略協(xié)作在與建筑外專業(yè)聯(lián)合時更會如虎添翼。在智利，很多事務(wù)所都是夫妻共同經(jīng)營的。團隊中也會有其他家庭成員，比如父親退休后由兒子們接管事務(wù)所。

維克托·格賓斯：我從不認(rèn)為自己有什么天賦。我需要合作，而不能全憑自己。我需要團隊和伙伴——可以溝通、對話、相互激勵和支撐的人?？死锼沟侔病さ隆じ窳_特和烏戈·莫利納給我的體會就是這樣。好的建筑需要建筑師有好的性格、天賦以及必要的條件。

亞歷杭德羅·阿拉韋納：我想說的是，元素/ Elemental事務(wù)所的經(jīng)營模式一直是從實際出發(fā)的，這樣才能讓我們成功應(yīng)對所面臨的問題。這些問題讓我們必須采取特定的經(jīng)濟組織結(jié)構(gòu)……這一點不是我擅長的。而很多與我合作過的人是有這方面天賦的。從事務(wù)所的管理來看，理解這一點需要邏輯的思考。

對于元素事務(wù)所，我想安德烈斯·亞科貝利的作用是極為關(guān)鍵的。首先，他是一位工程師，而不是建筑師。當(dāng)初我們在哈佛邂逅時，他正在政府學(xué)院做公共政策的碩士研究。其關(guān)注點是“我如何能為世界帶來顯著的變化”，答案則是“我將掀起巨浪，帶來真正具有價值的創(chuàng)造”。這就是他們在哈佛的研究。

當(dāng)你與人合作時，他們都有各自的世界觀，你唯一能說的就是，我有融合的能力。我認(rèn)為建筑帶來的正是一種融合的契機，也是經(jīng)營事務(wù)所必需的。

不過需要把握的是戰(zhàn)略，而不是所有的細(xì)節(jié)——否則你就會不知所措。但也不應(yīng)錯過可以簡化問題的因素。如果你能做到這一點，并與能在現(xiàn)實中掀起巨浪的人合作，那么時間、經(jīng)濟成本和管理結(jié)構(gòu)的所有問題都會迎刃而解。

馬克斯·努涅斯：我畢業(yè)之后就開始獨立工作，與吉耶爾莫·阿庫尼亞和塞瓦斯蒂安·伊拉拉薩瓦爾合作過一段時間。2004年以后開始做自己的項目。其中很多是與貝爾納多·巴爾德斯聯(lián)手，后來又與尼古拉斯·德爾里奧合作多年。我做的項目有各種不同的規(guī)模，包括小型更新項目、商店、酒吧和餐廳。但事務(wù)所的核心業(yè)務(wù)一直是住宅，遍布智利各地——在山間、在海濱、在南方，還有些項目在圣地亞哥。這些成就了我今天的品牌。

羅德里戈·杜克：關(guān)鍵在于如何打造一個團隊。我的事務(wù)所近年來的團隊建設(shè)就是一個關(guān)鍵。沒有我們培養(yǎng)起來的團隊，業(yè)務(wù)的發(fā)展是無法想象的。沒有像樂隊一樣協(xié)調(diào)的優(yōu)秀建筑師團隊，我們幾乎不可能有今天這些成就。

維克托·格賓斯：我是在瓦爾帕萊索上的學(xué)，在巴黎期間與勒·柯布西耶有很長時間的合作。這讓我能在歐洲遇見奧爾多·凡·艾克這樣的建筑師，與奧斯卡·尼邁耶以及勒·柯布西耶本人成為朋友。這對于我來說是非常重要的經(jīng)歷?；氐街抢螅死锼沟侔病さ隆じ窳_特讓我加入他的事務(wù)所，之后我又與埃內(nèi)斯托·拉貝合作。再后來，我兒子佩德羅帶著智利南方的工作經(jīng)驗回到了圣地亞哥。他提出要成為合伙人，我答應(yīng)了。

路易斯·伊斯基耶多：我在建筑學(xué)院里遇到了安東尼婭·萊曼，這是影響了我一生的經(jīng)歷。畢業(yè)之后，我就開始與她合作，建立了我們的家庭和事業(yè)。我們的兒子克里斯蒂安也在這里工作，是事務(wù)所的一員，為我們共同的職業(yè)生涯做出了積極的貢獻(xiàn)。

本哈明·穆魯亞/穆魯亞·巴倫蘇埃拉建筑事務(wù)所：經(jīng)營一家事務(wù)所要有長遠(yuǎn)的打算，一開始可能收入不多，或者根本不賺錢，但這種付出是贏得其他項目所必需的。剛畢業(yè)時客戶就聯(lián)系你，其實是有風(fēng)險的。第一，你很難獨立承擔(dān)項目，所以需要通過解釋把委托項目分給別人，以合作來分擔(dān)就會容易一些，并且與方向不同的人合作可以建立關(guān)系。我選擇羅德里戈（巴倫蘇埃拉）就是因為與自己不同的人合作會更好。

5 建筑競賽

智利的建筑競賽是拓展項目多樣性的一大機遇。青年建筑師通過競賽贏得關(guān)注和積累聲望，而成熟的事務(wù)所則能實現(xiàn)從國內(nèi)到國際大項目的飛躍。

維克托·格賓斯：當(dāng)你從省里來到首都圣地亞哥，是很難建立社交關(guān)系的。這是由政治、宗教、社會和經(jīng)濟圈組成的社會。你要另辟蹊徑，去打開通向它們的大門。而這正是競賽備受歡迎的地方。它能為你建立自己的社交網(wǎng)，而無需一個既有的圈子。

克里斯蒂安·溫杜拉加：我們做的第一件事就是參加國內(nèi)有影響力的公共競賽。第一個競賽是政府大樓前的憲法廣場，而且我們幸運地勝出了。從那以后，我們就把競賽作為事務(wù)所的一項長期工作。這些競賽上的成功讓我們得到了私人企業(yè)的關(guān)注，所以說事務(wù)所發(fā)展的一個理念就是：建筑競賽蘊含著無限機遇。

費利佩·阿薩迪：3年前我們還是100%投入在住宅上，后來改變了項目的規(guī)模。那時我們做的第一件事就是贏得了25，000m2的27層德語學(xué)院競賽。之后，我們改變了項目的規(guī)模和類型。現(xiàn)在，我們在智利境外的項目數(shù)量已經(jīng)超過國內(nèi)，在墨西哥、危地馬拉、美國、哥倫比亞首都波哥大和厄瓜多爾港口城市瓜亞基爾都有住宅作品?！?/p>

Cristián Fernández: I run a practice that is somehow the extension of the one I shared with with my father, Cristian Fernandez Cox, a recipient of the Chilean National Prize for Architecture. And this practice, I've been running it myself for more than 15 years. The office has had a variable size, some times we've been 3 or 4 people total, right now we are dealing with a high volume of work and we are almost 30 people, all architects, in our office. I don't have a partner, I rather have a team of people that I work with, for several years.

Cristián Undurraga: I've been working for almost 35 years, and we are a relatively small studio. We take on each project in an artisanal way. We never work with more than 15 people.Right now we are at 10.

Rodrigo Duque: Our office is relatively small, moving between a range of three to six people since we've been open. We've had the chance to collaborate with other architectural practices and to take on larger projects thanks to this, and not through an office that is overstaffed.

Lateral: We are an example of an office working in a network. Between all our projects, there are very few that we do on our own. Almost all are partnerships. Maybe because of our nature. By being a young office and not having an established portfolio to apply to many projects, we've had to look for associations and partnerships with larger offices, that would allow us to operate under their roof to participate [on larger projects]. And thanks to this, at our age, we've been able to be part of very large projects.

3 Facing commissions and clients

The interviewed architects highlight their close relationship with their clients, a position that allows them to reinforce the artisanal condition of their work and the constant follow up of each stage of the development of the project.

Independent practice in the field of architecture is understood as a drawn out effort that takes a long time in the initial phases of understanding and deepening into the client's requirements. Most of the time, the commissions must be managed by the firm's founder, and in order to do so he must deal with several projects, often small in scale, so that he can execute everything, down to the details, which ultimately allows for more experimentation.

Fernando Castillo Velasco: The most important is the relationship between the one who dreams up the space and the one who asks him to do so. It is basic, and for that the architect needs to discover not only the particular dreams of this person, but also the collective dreams. The cultural process must be the genesis of the creating act of the architect in a building (...) an architect must be an interpreter. More than a creator, an interpreter...who will discover not only the dream of the client who commissioned him for a certain space, but also the one of the society, of the country, where is it headed... A Chilean architect must not forget that his back is faced by the giant mountains, and that on the other side he has the infinite (ocean).

Mathias Klotz: Architecture as a craft needs to develop over time, which in my case has been a very slow process of learning of how to design and how to build－and to design, in the sense of fully understanding the commision and to satisfy it with an appropriate answer, and that this appropriate answer can be built in a rational way. This is what I try to do as an architect. To understand a commission in the deepest way possible, to understand the client, to understand the requirement.

LAND Arquitectos: We always try to deliver [to the client] above expectations, and starting something is always hard, so you have to double the effort and motivation. It is hard most of the time, as the financial part is complicated; it's hard to get paid for the projects as they take time, so you have give more effort than you would normally in order to stabilize that and take off.

Guillermo Hevia/GH+A: GH+A started in 1983, focusing on... anything I could! When you start doing architecture, or try to do it, you need to look for the commissions. Many times they happen out of luck or opportunities. We started doing houses and small scale projects. At some point an opportunity opened up to do an industrial project and I think that because of how life is, in a moment when Chile didn't have architects focused on this area, a whole horizon opened for us.

Luis Izquierdo: We have taken on a big variety of different projects, from the design of furniture objects, to large scale projects in the real state sector, or public competitions... anything that came.

Victor Gubbins: For me, architecture is a way of life, a passion. It is an area where you never stop learning.The beauty of this is that each project is a new challenge. When we designed the National Television Building, we had never done a TV station before. When we designed the Teletón Santiago building with Ernesto Labbé, we had never designed a rehabilitation center. Normally people go out to look what others are doing. We would rather talk to people.

Felipe Assadi: I started my office officially in 1999, doing everything on my own. I started my office with a wooden door over two sawhorses that my mother gave me, and I started to work. I drew, I did models, I called on the phone, I went to the city hall. I did everything during those 2 years on my first house, the Schmidt house (...) On that first building I put all my heart, all my energy, and it turned out to be impeccable, which worked to get two other commissions after.

4 The importance of working in teams

From the experiences shared by the interviewed architects, one understands the major significance of working in teams, and this dialogue enables superior design proposals. Many offices are led by a pair of architects with different, complementary strengths. These strategic alliances can be even more successful if they incorporate professionals from fields other than architecture. In Chilean practices it is very common to see husband and wife partnerships, or teams that include other family members, such as cases in which sons take over the direction of the office once the father retires.

Victor Gubbins: I've never considered myself a gifted person. I have needed other people. I couldn't have worked alone. I need a team, I need partners. People who I can converse with, talk, stimulate, and complement.This happened to me with Christian de Groote and Hugo Molina back in the day. It depends on personality, the gifts of those architects, and the conditions, to make good architecture.

Alejandro Aravena: I would say that the operating structure of Elemental has been the one it has had to be in order for us to take on the questions we were asking ourselves. The nature of the questions we had, forced us to take a certain organizational structure, of financing.... For this I'm very bad. It is not my thing. There have been people that I've worked with who have a natural talentfor this. From running the administration to the office, to understand that this needs to have a logic.

For Elemental specifically I think that the role of Andres Iacobelli was crucial. First, he's an engineer, not an architect. I met him at Harvard when he was doing his postgraduate studies on Public Policy at the Government School, where the focus is on "how do I place myself into the world to make a significant change." So, "here, I am going to make waves with things that are worth it," and they study and they prepare for that (at Harvard).

As you partner with someone who has this structure in the way they see the world, the only thing that you can say is, well what I have here is the power of synthesis. I think that architecture can provide the capacity of synthesis, which is what you need in order to operate.

You take on what is strategic, not everythingotherwise you paralyze yourself－but without taking away the things that reduce the complexity of the problem. If you achieve this, and you partner with the one who can make those waves in reality, all those problems of how you finance your time, the operational structure, etc, are solved."

Max Nu?ez: I have worked independently since I graduated. I worked with Guillermo Acu?a and Sebastián Irarrázaval for a while. But since 2004 I've been doing my own projects. Many of them in association with Bernardo Valdés, and after with Nicolás del Río, for many years. The work I've done has been focused on different project scales, from small-scale renewal projects, stores, bars, and restaurants. But what has formed the core of the office has been housing. Houses across the different regions of Chile, in the mountains, in the beach, in the south, some projects in Santiago as well, and that's what has defined my work so far.

Rodrigo Duque: The key is how you build a team. The construction of the team that has been in my office during the last years has been the key. I can't imagine the development of our projects without the team we have put together. Without this powerful team of good architects, working like an orchestra, we would barely have done the work we've done.

Victor Gubbins: I studied in Valparaíso, with a long stay in Paris working as a collaborator of Le Corbusier, which allowed me to be in Europe and meet architects such as Aldo Van Eyck, to become friends with Oscar Niemeyer, and to be with Le Corbusier himself. Those were very important experiences for me. Back in Chile, Christian de Groote called me to be part of his office, and after I partnered with Ernesto Labbé. After Pedro, my son, came back to Santiago after working in the south of Chile to get experience, he proposed to be partner and I accepted. Luis Izquierdo: This has been an experience that has involved many aspects of my life, as I started this office with Antonia Lehmann, whom I met in architecture school and whom I worked with after graduating. So this has been a marriage and family effort, as our son Cristián is also working with us, as an associate in the office, and he has participated in our professional career and actively in our office.

Benjamín Murúa, Murúa Valenzuela Architects: To maintain an office over time involves not earning much at the beginning, almost nothing, and make this sacrifice in order to take on other projects. The client who contacts you once you graduate from school is taking a risk. First, it is very difficult to do it on your own, you need to debate and share the commission with someone, and as it it easier to carry this load as two, partnerships are strengthened when the two have different paths. The decision to partner with Rodrigo (Valenzuela) is because it is good to partner with someone who is different from you.

5 Architecture competitions

Architecture competitions in Chile present a big opportunity to scale into a larger variety of projects. Through them, young architects have been able to become known and build a reputation, while an established firm can jump from a domestic projects into international projects of larger scale.

Víctor Gubbins: When you come from the province and arrive in Santiago, it is very hard to build a social network, as you are in a society defined by political, religious, social and financial circles. You have to open these doors in another way. That's why competitions are welcomed. That way, you can build your own network, without being from a determined group.

Cristián Undurraga: The first thing that we did was to participate in public competitions with a certain importance in the country. The first one was the Constitution Square in front of the government palace, and we had the luck to win that competition. From there we made competitions a constant experience in the studio, and the success we had in these competitions allowed us to move into the private sector, so the office grew with the conviction that in architectural competitions there were opportunities.

Felipe Assadi: We have focused basically -until three years ago- 100% on houses, but a few years ago we started to change the scale of the projects and the first thing that we did was to win the competition for the German School, 25,000sqm in a 27-story building, and from there we changed the scale and program of our projects. Now we have more projects outside of Chile than inside. We have houses in Mexico, Guatemala, USA, Bogotá and Guayaquil.□

附錄：建筑師簡介

費爾南多·卡斯蒂略·貝拉斯科（1918-2013）

建筑師，畢業(yè)于智利天主教大學(xué)。1983年榮獲智利全國建筑大獎。與卡洛斯·布雷夏尼、卡洛斯·維多夫羅和?？送袪枴ぐ蜖柕滤归_創(chuàng)了事務(wù)所，設(shè)計了智利重要的現(xiàn)代建筑，如塔哈瑪大廈和波塔萊斯公寓單元樓。還擔(dān)任過圣地亞哥公務(wù)員以及4任拉雷納市長。

吉列爾莫·埃維亞（1942-）

建筑師，畢業(yè)于智利天主教大學(xué)。有大量工業(yè)建筑項目經(jīng)驗，關(guān)注可持續(xù)性。他的FASA配送中心以被動設(shè)計在工業(yè)領(lǐng)域的創(chuàng)新應(yīng)用贏得2006年基多泛美雙年展大獎。2015年，埃維亞的食品與研究中心獲得ArchDaily工業(yè)建筑類年度大獎。

克里斯蒂安·溫杜拉加（1954-）

建筑師，畢業(yè)于智利天主教大學(xué)。1978年與阿妮塔·德韋斯共同創(chuàng)立了溫杜拉加-德韋斯事務(wù)所。他的作品以對物質(zhì)和光的永恒探索為特征。事務(wù)所的作品大部分集中在各種規(guī)模的公共和社會建筑上。在贏得多項公共競賽之后，他從1982年至今一直在主持圣地亞哥公共軸線的各種項目。

克里斯蒂安·費爾南德斯（1960-）

建筑師，畢業(yè)于智利大學(xué)，著名作品包括智利這10年間最重要的公共建筑之一——加夫列拉·米斯特拉爾文化中心。這個項目贏得了2010年ArchDaily拉美建筑年度大獎。

何塞·克魯斯·奧瓦列（1948-)

About the architects

Fernando Castillo Velasco (1918-2013)

Architect from Pontificia Universidad Católica of Chile. Awarded Chilean National Prize for Architecture in 1983. Started his professional career together with Carlos Bresciani, Carlos Huidobro y Héctor Valdés, designing important modern projects in Chile, such as the Tajamar Towers and the Portales Vecinal Unit. Besides a renowned career as an architect, he was also an academic and rector of the Universidad Católica de Chile, and also a public servant, as Intendente of Santiago and Mayor of La Reina for four terms.

Guillermo Hevia (1942- )

Architect from Pontificia Universidad Católica of Chile. Has a strong history of building industrial projects, with a focus on sustainability. His FASA Distribution Center, winner of the 2006 Quito Pan American Biennale, pioneered the use of passive design strategies in the industrial sector. In 2015, Hevia's Carozzi Food and Research Center received the ArchDaily Building of the Year Award in the Industrial Architecture category.

Cristián Undurraga (1954- )

Architect from Pontificia Universidad Católica of Chile. Started Undurraga Devés together with Anita Devés in 1978. His work is characterized by a constant exploration of matter and light. Most of Undurraga Devés' work has focused on public and social architectural across different scales. After winning several different public competitions, he has been in charge,,of Santiago's Civic Axis with projects dating from 1982 until today.

Cristián Fernández (1960- )

Architect from Universidad de Chile with a celebrated portfolio that includes one of Chile's most important public buildings of this decade:The Gabriela Mistral Cultural Center. This project won ArchDaily Latin America's Building of the Year Award in 2010.

建筑師，畢業(yè)于智利天主教大學(xué)和西班牙理工大學(xué)。從智利轉(zhuǎn)向西班牙之后開創(chuàng)了自己的事務(wù)所，并與哲學(xué)家歐亨尼奧·特里亞斯同在加泰羅尼亞理工大學(xué)執(zhí)教?；氐街抢?，贏得了1992年塞維利亞世博會智利館的設(shè)計，成為智利建筑最具代表性的作品之一。

維克托·格賓斯（1932-）

建筑師，畢業(yè)于瓦爾帕萊索天主教大學(xué)。1999年榮獲智利全國建筑大獎。1957年畢業(yè)之后曾在巴黎與勒·柯布西耶和安德烈·沃根斯基合作?；氐街抢?，先后與克里斯蒂安·德·格羅特（1969-1976）和埃內(nèi)斯托·拉貝（1976-1996）共事，以機構(gòu)建筑、住房、私人住宅和城市規(guī)劃為主。目前與其子佩德羅·古賓斯共同經(jīng)營自己的事務(wù)所——古賓斯建筑事務(wù)所。

恩里克·布朗（1942-）

建筑師，1965年畢業(yè)于智利天主教大學(xué)，1968年獲城市規(guī)劃碩士。2010年獲得智利全國建筑大獎。先后在智利和國外擔(dān)任了54次競賽的評委。在建筑和城市方面有大量著作及合著，包括《拉丁美洲新建筑》。他的事務(wù)所關(guān)注的是可持續(xù)性和公益建筑。

費利佩·阿薩迪（1971-）

建筑師，1996年畢業(yè)于菲尼斯特雷大學(xué)，2006年獲智利天主教大學(xué)建筑碩士。1999年起與弗朗西斯卡·普利多在阿薩迪與普利多建筑事務(wù)所合作。2011年后獨立執(zhí)業(yè)。在他的職業(yè)生涯中建造了大量項目，主要是私人住宅。近幾年轉(zhuǎn)向新的領(lǐng)域，包括酒店、房地產(chǎn)項目以及機構(gòu)和教育建筑。

橫向事務(wù)所

由智利大學(xué)畢業(yè)的建筑師克里斯蒂安·尤特羅尼科和塞瓦斯蒂安·巴勞納創(chuàng)立。作為一個年輕的事務(wù)所在公共競賽上有著卓越表現(xiàn)，包括與克里斯蒂安·費爾南德斯合作完成的加夫列拉·米斯特拉爾文化中心。

羅德里戈·杜克（1976-）

建筑師，2001年畢業(yè)于智利天主教大學(xué)。在與馬賽厄斯·克洛茨合作之后于2003年開創(chuàng)了自己的事務(wù)所RDM建筑事務(wù)所。4年后贏得智利建筑師協(xié)會的青年建筑師獎。他為UDP設(shè)計的經(jīng)濟商業(yè)學(xué)院贏得了2015年西班牙語版ArchDaily的年度大獎。

馬克斯·努涅斯（1976-）

建筑師，2004年畢業(yè)于智利天主教大學(xué)，2010年獲哥倫比亞建筑規(guī)劃與保護研究生院建筑學(xué)碩士。馬克斯最初與吉耶爾莫·阿庫尼亞和塞瓦斯蒂安·伊拉拉薩瓦爾合作，之后是貝爾納多·巴爾德斯。2005年，馬克斯與尼古拉斯·德爾里奧聯(lián)合成立了dRN建筑事務(wù)所?，F(xiàn)在他經(jīng)營著自己的事務(wù)所。

路易斯·伊斯基耶多（1956-）

建筑師，畢業(yè)于智利天主教大學(xué)。2004年獲得全國建筑大獎。1984年與安東尼婭·萊曼成立了伊斯基耶多·萊曼建筑事務(wù)所。憑借30多年的經(jīng)驗，事務(wù)所已成為智利經(jīng)驗最豐富的知名事務(wù)所之一。

馬賽厄斯·克洛茨（1965-）

建筑師，畢業(yè)于智利天主教大學(xué)。在智利國內(nèi)外均有大量私人和公共建筑作品。他還是天主教大學(xué)、費德里科圣瑪麗亞大學(xué)、迭戈·波塔萊斯大學(xué)，以及威尼斯建筑大學(xué)的工作室教師?，F(xiàn)任迭戈·波塔萊斯大學(xué)建筑、藝術(shù)與設(shè)計學(xué)院院長。

LAND建筑事務(wù)所

由菲尼斯特拉斯大學(xué)2007年畢業(yè)的建筑師瑪麗亞·安哥拉·德洛倫索和克里斯托瓦爾·巴倫蘇埃拉·霍伊斯勒組建。事務(wù)所通過以自然和景觀為特征的公私項目形成了自己的特色。

亞歷杭德羅·阿拉韋納（1967-）

建筑師，1992年畢業(yè)于智利天主教大學(xué)，曾在威尼斯建筑大學(xué)進(jìn)修歷史與理論。1994年成立了自己的事務(wù)所，自2006年以來擔(dān)任元素事務(wù)所的執(zhí)行經(jīng)理。元素事務(wù)所以設(shè)計社會住宅和公共基礎(chǔ)設(shè)施為主，探索實現(xiàn)長期可持續(xù)性的新住宅設(shè)計?，F(xiàn)任普利茲克建筑獎評委。

穆魯亞-巴倫蘇埃拉事務(wù)所

由2004年畢業(yè)于智利天主教大學(xué)的建筑師本哈明·穆魯亞與同年畢業(yè)于智利大學(xué)的建筑師、視覺藝術(shù)碩士羅德里戈·巴倫蘇埃拉創(chuàng)立。作為一個團隊，他們從不同的角度審視各種項目，并積極與其他領(lǐng)域的專家開展合作。

José Cruz Ovalle (1948- )

Architect from Pontificia Universidad Católica de Chile and Universidad Politécnica de Catalonia (UPC). Started his studio after moving from Chile to Spain, where he was also a teacher together with philosopher Eugenio Trias at UPC. After returning to Chile, he won the competition to design the Chilean Pavilion at the EXPO Sevilla (1992), building one of the most emblematic projects in Chilean architecture.

Víctor Gubbins (1932- )

Architect from Universidad Católica de Valparaíso. Awarded Chile's Awarded Chilean National Prize for Architecture in 1999. After graduating in 1957, he moved to Paris to work with Le Corbusier and André Wogenscky. Upon his return to Chile, he worked together with Christian de Groote (1969-76) and Ernesto Labbé (1976-1996), focusing on institutional buildings, housing, private houses and urban planning. Today he runs his office, Gubbins Arquitectos, together with his son Pedro Gubbins.

Enrique Browne (1942- )

Architect (1965) and Master in Urban Planning (1968) from Pontificia Universidad Católica de Chile. Awarded Chilean National Prize for Architecture in 2010. Premio Nacional de Arquitectura en 2010. He has been jury of 54 competitions in Chile and abroad. Author and coauthor of architecture and urbanism publications, including "Another Architecture in Latin America". His office has a strong focus on sustainability and institutional architecture.

Felipe Assadi (1971- )

Architect from Universidad Finis Terrae (1996) and Masters in Architecture at Pontificia Universidad Católica de Chile (2006). Since 1999 worked together with Francisca Pulido at Assadi & Pulido Arquitectos, and since 2011 on his own. Along his professional career, he has built a vast amount of projects, mostly private houses. During the last years he has shifted towards another scale, with hotels, real estate, institutional, and educational projects.

Lateral Office

Formed in 2006 by Cristián Yutronic and Sebastián Baraona, architects from Universidad de Chile. A young office with a strong track record on public competitions, including the Gabriela Mistral Cultural Center done in partnership with Cristián Fernández.

Rodrigo Duque (1976- )

Architect from Pontificia Universidad Católica de Chile (2001). Starts his own practice RDM Arquitectura in 2003 after working with Mathias Klotz. After 4 years from opening his practice he receives the Young Architect Award from the Chile Architects Association. His building for the the Economy and Business Faculy at UDP won the 2015 Building of the Year Award at ArchDaily in Spanish.

Máx Nu?ez (1976- )

Architect and Masters of Architecture from Pontificia Universidad Católica de Chile (2004), and Masters in Advanced Architecture at Columbia GSAPP (2010). Max starts working with Guillermo Acu?a and Sebastián Irarrázaval, and then working in association with Bernardo Valdés. In 2005 Max partners with Nicolás del Río to form dRN Arquitectos. Currently, he runs his own studio.

Luis Izquierdo (1956- )

Architect from Pontificia Universidad Católica de Chile. National Prize of Architecture (2004). With more than 30 years of practice, Izquierdo Lehmann Arquitectos is one of the most experimented and renowned studios in Chile. The practice was formed in 1984 by Antonia Lehmann and Luis Izquierdo.

Mathias Klotz (1965- )

Architect from Pontificia Universidad Católica de Chile (1990). Mathias has a vast amount of private and public work both in Chile and abroad. He has been a studio teacher at Universidad Católica, Universidad Federico Santa María, Universidad Diego Portales, and at the Istituto Universitario di Architettura di Venezia. He is currently the dean of the Architecture, Arts, and Design Faculty at the Universidad Diego Portales. LAND Arquitectos

Formed by María Angela Delorenzo and Cristóbal Valenzuela Haeussler, Architects from Universidad Finis Terrae (2007). The practice has developed its own identity through public and private projects where nature and landscape are key.

Alejandro Aravena (1967- )

Architect from Pontificia Universidad Católica de Chile (1992) with History & Theory studies at the Università IUAV di Venezia. Starts his private practice in 1994, and has been the Executive Director of ELEMENTAL since 2006. ELEMENTAL has focused on social housing and public infrastructure, exploring progressive housing strategies to deliver long term sustainable solutions. He currently serves as jury for the Pritzker Architecture Prize.

Murúa Valenzuela

Formed by Benjamín Murúa, Architect from Pontificia Universidad Católica de Chile (2004), and Rodrigo Valenzuela, Architect (2004) and Masters in Visual Arts (2011) at Universidad de Chile. As a team, they face projects from different angles and in active collaboration with professionals from other fields.

ArchDaily西班牙語版主編/Editor in Chief, ArchDaily in Spanish

2015-05-05