波拉·莫拉/Pola Mora

尚晋 译/Translated by SHANG Jin

智利建筑事务所的经营之道

Running an Architecture Practice in Chile

波拉·莫拉/Pola Mora

尚晋 译/Translated by SHANG Jin

ArchDaily在勾勒全球建筑行业形势的7年时间中，对世界各地的建筑师进行了大量访谈。这些访谈与照片和技术资料相辅相成，让我们通过全面的建筑信息走近建筑师，去理解其思想和经验。这种第一人称的视角是建筑师彼此沟通经营方式的重要手段，同时也是传递知识的有效途径，对于青年建筑师更是意义重大。

通过向知名和新兴的事务所提出一系列问题，我们得以窥探当下建筑文化的形势。以下内容是17家智利知名事务所对“能和我们讲讲你经营建筑事务所的亲身经验么？”这个问题的回答。其中既有青年事务所横向/Lateral，也有在智利历史和政治上举足轻重的人物费尔南多·卡斯蒂略，以及智利全国建筑大奖得主路易斯·伊斯基耶多和维克托·格宾斯。

从笔者在2010-2015年进行的这些访谈中，我们看到了在智利这片土地上经营建筑事务所的特殊含义。这些内容被按照主题分组：坚守与技艺、小团队与协作、如何面对委托项目以及与客户的关系、团队合作的重要性，最后是智利的建筑竞赛对于事业发展的价值。

1 坚守与技艺

许多建筑师都不约而同地表示，智利的建筑教育与行业实践是严重脱节的。大学为学生提供的技术非常有限，使他们不得不通过在知名事务所中的工作来获得最关键的知识，而后才能走上自己的发展道路。

面对着充满未知和挫折的未来之路，坚守和严谨是独立经营事务所需要的首要品质。

费利佩·阿萨迪：我看到有很多青年建筑师在创立自己的事务所，但半数都在失败之后又成了其他事务所的雇员。我想他们需要的是投入，全身心的投入。建筑项目周期都很长，不是一蹴而就的。我们不会设计一个垃圾桶，然后加工、组装，再把它卖掉。建筑项目动辄就要花上两年，特别是在初创时期。所以就会有停滞期，特别是业务不景气的时候。但我们需要的是耐心和坚守。

吉列尔莫·埃维亚：经营自己的建筑事务所可以是一个美好的梦想，可一旦开始或许就只是一场梦了。我在学生时代就有过工作的经历。先是卡洛斯·阿尔韦托·克鲁斯·克拉罗事务所的绘图员，我在那里学会了守纪、严谨和耐心。他后来又带我走上了新的高度，因为他有好的客户，做的项目可以和发达国家媲美。

恩里克·布朗：大学教育是非常重要的，但理解工艺以及如何创造、如何将其实现并最终建成，同样不可或缺。从一张桌子到一座大型建筑，都必须是切实可行的，并理性地考虑预算等因素。这就是技艺成熟的时刻。那么如何去实现呢？在我看来理想的情况是，建筑师一毕业就到中上等的事务所去工作。他们很可能免不了被打被骂，还得加倍努力。一开始是画门窗，会非常苦闷，但这是掌握技艺的必经之路，它是无价的。因为如果要自己从头学起，花的时间会更长，困难更多。而在一家好的事务所，一切都已成熟定型。

横向事务所：工作中的坚守是根本。我们的行业就是大浪淘沙，优胜劣汰。因此，只把事情做好是不够的，还需要优秀而执着的团队。所以我们要再次强调，工作中的坚守是根本。工作的时日越久，成果就越丰硕。

罗德里戈·杜克：就我而言，在独立开创事务所之前的工作为我打下了基础。一方面是学技艺，另一方面是培养信任——既是对自己的，也是对周围人的……所以我认为，在好的事务所的工作经验是很重要的，在那里积累的工作经验给了我自立门户的机会。

马克斯·努涅斯：和所有创业一样，经营自己的事务所都需要努力、专注和决心。就算眼下稳定，来年的光景如何，谁也说不好。但我倒是觉得，正是这种不确定性会让你把每个建筑都当成收官之作。

克里斯蒂安·温杜拉加：我毕业时觉得惟一的选择是独立创业，但谈何容易，因为大学只给了有限的训练。还有很多东西是从实际技艺中学到的。要从零起步绝非易事。所以我们选择了继续学习，弥补大学之外的空白。

2 小团队与合作

智利的建筑事务所一般都比较小，人员数量会随项目的多少浮动，通常不会超过15位建筑师。这种小团队的管理有着得天独厚的优势，因为可以有一个人从概念到施工把握项目的全过程。

项目的规模带来了一种近乎手工艺的建筑工作方式——建筑师与建筑一对一。而要承担更大的项目就要与其他事务所合作。这种合作不仅让事务所能在不扩充团队的情况下完成大型项目，更为青年人提供了与成熟建筑师合作设计大型项目的机会。本文中由克里斯蒂安·费尔南德斯与横向事务所合作完成的加夫列拉·米斯特拉尔文化中心就是一个很好的例子。

马克斯·努涅斯：我们的事务所一直在与小型团队合作，这让我们能贯穿项目的始终，并把握施工情况和客户关系。我想这是一种非常好的经验——从小项目开始，经过长期积累再发展到大型项目。

克里斯蒂安·费尔南德斯：我的事务所其实是我和父亲共同的事务所克里斯蒂安·费尔南德斯·科克斯的延伸——我和父亲的事务所曾经获得过智利全国建筑大奖。我自己经营事务所已经有15年。团队的大小也在变化，有时只有三四个人，而现在因为工作量很大，一共有30个人，都是建筑师。我没有合作伙伴，因为我喜欢有自己的团队，可以一起工作很多年。

克里斯蒂安·温杜拉加：我已经工作了快35年，而我们的事务所相对较小。每个项目都是以手工艺的方式完成的。我们从来没有超过15个人，现在我们就是10个人。

罗德里戈·杜克：我们的事务所比较小，开业以来就在3～6人之间浮动。我们与其他建筑事务所合作承担大型项目，不会让团队膨胀。

横向事务所：我们的事务所是网络化合作的一个典型。所有的项目中很少有我们独立完成的，几乎都是合作。或许这是我们的个性所致。作为一个年轻的事务所，没有丰富的作品集去赢得项目，我们就必须寻找与大型事务所合作的机会，以便在他们的引导下参与大型项目。通过这种方式，我们年纪轻轻就能接触到不少大项目。

3 面对委托项目与客户

访谈的建筑师都强调与客户的密切关系。这能让他们突出建筑创作中的手工艺特征，并持续跟进项目的每个阶段。

独立建筑事务所的艰苦卓绝之处在于，项目初期需要很长时间来理解和深化客户的需求。多数时候，委托项目必须由事务所的创始人来把握。因此他必须同时处理多个项目，而通常规模不大，让他可以掌握实施的每个细节，并进行新的尝试。

费尔南多·卡斯蒂略·贝拉斯科：建筑空间的筑梦者与委托人之间的关系是第一位的。这是基础，建筑师为此不仅要发现委托人心中与众不同的梦，更要看到众人的梦。这种文化交流是创造建筑的原点……因此建筑师不止是创造者，更是释梦者……他不仅能发现委托人对某种空间的梦想，更能看到社会、国家的理想与未来……智利建筑师不可忘记，他所背靠的大山之外是无边的大海。

马赛厄斯·克洛茨：建筑作为一种技艺是需要时间来培养的。对我而言，这是一个学习设计和建造的缓慢过程。所谓设计就是要充分理解委托任务，并用合适的方案作出回答，再以合理的方式去实现。这就是我作为一名建筑师的工作。尽可能深刻地理解委托任务，理解客户，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 Nuñez: 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 Núñez: 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建筑事务所：我们总想给客户超预期的成果。但万事开头难，所以就要加倍努力。多数时候困难重重，而经济情况又十分复杂。项目周期长就很难运转。不得不额外付出，以便稳定收支，实现飞跃。

吉列尔莫·埃维亚/GH+A事务所：GH+A是1983年成立的，业务集中在……我所能做的一切！一旦开始做建筑，哪怕只是尝试，就需要寻找委托项目。但很多时候没那么幸运，也没那么多机会。我们是从住宅和小项目做起的。后来有了一个工业项目的机会，我想这就是命运——在智利还没有建筑师关注这一领域的时候，一个全新的视野呈现在了我们面前。

路易斯·伊斯基耶多：我们做过的项目类型非常丰富，从家具设计到大型地产项目，还有公共竞赛……来者不拒。

维克托·格宾斯：对我来说，建筑是一种生活方式、一种激情。建筑是我的事业，让我永远在学习。它的魅力在于，每个项目都是一次新的挑战。我们在设计国家电视大厦时，还从未有过电视台的项目经验。在与埃内斯托·拉贝合作设计圣地亚哥电视大楼之前，也没做过电视台。通常，人们会去看别人在做什么，而我们更愿意与人交谈。

费利佩·阿萨迪：我在1999年开创了自己的事务所，可以说白手起家。最初的事务所是一扇木门，还有母亲留给我的两架木锯，然后我就开工了。画图，做模型，打电话，去市政府。我投入了全部身心，用两年时间完成了第一个作品——施密特住宅……让它成为完美无瑕的作品，并因此获得了两个新的委托项目。

4 团队合作的重要性

访谈建筑师共同的经验让我们看到了团队合作的重要意义。团队中的碰撞将创造出卓越的设计方案。不少事务所都是由能力各异又相辅相成的建筑师夫妻主持的。这种战略协作在与建筑外专业联合时更会如虎添翼。在智利，很多事务所都是夫妻共同经营的。团队中也会有其他家庭成员，比如父亲退休后由儿子们接管事务所。

维克托·格宾斯：我从不认为自己有什么天赋。我需要合作，而不能全凭自己。我需要团队和伙伴——可以沟通、对话、相互激励和支撑的人。克里斯蒂安·德·格罗特和乌戈·莫利纳给我的体会就是这样。好的建筑需要建筑师有好的性格、天赋以及必要的条件。

亚历杭德罗·阿拉韦纳：我想说的是，元素/ Elemental事务所的经营模式一直是从实际出发的，这样才能让我们成功应对所面临的问题。这些问题让我们必须采取特定的经济组织结构……这一点不是我擅长的。而很多与我合作过的人是有这方面天赋的。从事务所的管理来看，理解这一点需要逻辑的思考。

对于元素事务所，我想安德烈斯·亚科贝利的作用是极为关键的。首先，他是一位工程师，而不是建筑师。当初我们在哈佛邂逅时，他正在政府学院做公共政策的硕士研究。其关注点是“我如何能为世界带来显著的变化”，答案则是“我将掀起巨浪，带来真正具有价值的创造”。这就是他们在哈佛的研究。

当你与人合作时，他们都有各自的世界观，你唯一能说的就是，我有融合的能力。我认为建筑带来的正是一种融合的契机，也是经营事务所必需的。

不过需要把握的是战略，而不是所有的细节——否则你就会不知所措。但也不应错过可以简化问题的因素。如果你能做到这一点，并与能在现实中掀起巨浪的人合作，那么时间、经济成本和管理结构的所有问题都会迎刃而解。

马克斯·努涅斯：我毕业之后就开始独立工作，与吉耶尔莫·阿库尼亚和塞瓦斯蒂安·伊拉拉萨瓦尔合作过一段时间。2004年以后开始做自己的项目。其中很多是与贝尔纳多·巴尔德斯联手，后来又与尼古拉斯·德尔里奥合作多年。我做的项目有各种不同的规模，包括小型更新项目、商店、酒吧和餐厅。但事务所的核心业务一直是住宅，遍布智利各地——在山间、在海滨、在南方，还有些项目在圣地亚哥。这些成就了我今天的品牌。

罗德里戈·杜克：关键在于如何打造一个团队。我的事务所近年来的团队建设就是一个关键。没有我们培养起来的团队，业务的发展是无法想象的。没有像乐队一样协调的优秀建筑师团队，我们几乎不可能有今天这些成就。

维克托·格宾斯：我是在瓦尔帕莱索上的学，在巴黎期间与勒·柯布西耶有很长时间的合作。这让我能在欧洲遇见奥尔多·凡·艾克这样的建筑师，与奥斯卡·尼迈耶以及勒·柯布西耶本人成为朋友。这对于我来说是非常重要的经历。回到智利后，克里斯蒂安·德·格罗特让我加入他的事务所，之后我又与埃内斯托·拉贝合作。再后来，我儿子佩德罗带着智利南方的工作经验回到了圣地亚哥。他提出要成为合伙人，我答应了。

路易斯·伊斯基耶多：我在建筑学院里遇到了安东尼娅·莱曼，这是影响了我一生的经历。毕业之后，我就开始与她合作，建立了我们的家庭和事业。我们的儿子克里斯蒂安也在这里工作，是事务所的一员，为我们共同的职业生涯做出了积极的贡献。

本哈明·穆鲁亚/穆鲁亚·巴伦苏埃拉建筑事务所：经营一家事务所要有长远的打算，一开始可能收入不多，或者根本不赚钱，但这种付出是赢得其他项目所必需的。刚毕业时客户就联系你，其实是有风险的。第一，你很难独立承担项目，所以需要通过解释把委托项目分给别人，以合作来分担就会容易一些，并且与方向不同的人合作可以建立关系。我选择罗德里戈（巴伦苏埃拉）就是因为与自己不同的人合作会更好。

5 建筑竞赛

智利的建筑竞赛是拓展项目多样性的一大机遇。青年建筑师通过竞赛赢得关注和积累声望，而成熟的事务所则能实现从国内到国际大项目的飞跃。

维克托·格宾斯：当你从省里来到首都圣地亚哥，是很难建立社交关系的。这是由政治、宗教、社会和经济圈组成的社会。你要另辟蹊径，去打开通向它们的大门。而这正是竞赛备受欢迎的地方。它能为你建立自己的社交网，而无需一个既有的圈子。

克里斯蒂安·温杜拉加：我们做的第一件事就是参加国内有影响力的公共竞赛。第一个竞赛是政府大楼前的宪法广场，而且我们幸运地胜出了。从那以后，我们就把竞赛作为事务所的一项长期工作。这些竞赛上的成功让我们得到了私人企业的关注，所以说事务所发展的一个理念就是：建筑竞赛蕴含着无限机遇。

费利佩·阿萨迪：3年前我们还是100%投入在住宅上，后来改变了项目的规模。那时我们做的第一件事就是赢得了25，000m2的27层德语学院竞赛。之后，我们改变了项目的规模和类型。现在，我们在智利境外的项目数量已经超过国内，在墨西哥、危地马拉、美国、哥伦比亚首都波哥大和厄瓜多尔港口城市瓜亚基尔都有住宅作品。□

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 Nuñez: I have worked independently since I graduated. I worked with Guillermo Acuña 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.□

附录：建筑师简介

费尔南多·卡斯蒂略·贝拉斯科（1918-2013）

建筑师，毕业于智利天主教大学。1983年荣获智利全国建筑大奖。与卡洛斯·布雷夏尼、卡洛斯·维多夫罗和埃克托尔·巴尔德斯开创了事务所，设计了智利重要的现代建筑，如塔哈玛大厦和波塔莱斯公寓单元楼。还担任过圣地亚哥公务员以及4任拉雷纳市长。

吉列尔莫·埃维亚（1942-）

建筑师，毕业于智利天主教大学。有大量工业建筑项目经验，关注可持续性。他的FASA配送中心以被动设计在工业领域的创新应用赢得2006年基多泛美双年展大奖。2015年，埃维亚的食品与研究中心获得ArchDaily工业建筑类年度大奖。

克里斯蒂安·温杜拉加（1954-）

建筑师，毕业于智利天主教大学。1978年与阿妮塔·德韦斯共同创立了温杜拉加-德韦斯事务所。他的作品以对物质和光的永恒探索为特征。事务所的作品大部分集中在各种规模的公共和社会建筑上。在赢得多项公共竞赛之后，他从1982年至今一直在主持圣地亚哥公共轴线的各种项目。

克里斯蒂安·费尔南德斯（1960-）

建筑师，毕业于智利大学，著名作品包括智利这10年间最重要的公共建筑之一——加夫列拉·米斯特拉尔文化中心。这个项目赢得了2010年ArchDaily拉美建筑年度大奖。

何塞·克鲁斯·奥瓦列（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.

建筑师，毕业于智利天主教大学和西班牙理工大学。从智利转向西班牙之后开创了自己的事务所，并与哲学家欧亨尼奥·特里亚斯同在加泰罗尼亚理工大学执教。回到智利后，赢得了1992年塞维利亚世博会智利馆的设计，成为智利建筑最具代表性的作品之一。

维克托·格宾斯（1932-）

建筑师，毕业于瓦尔帕莱索天主教大学。1999年荣获智利全国建筑大奖。1957年毕业之后曾在巴黎与勒·柯布西耶和安德烈·沃根斯基合作。回到智利后，先后与克里斯蒂安·德·格罗特（1969-1976）和埃内斯托·拉贝（1976-1996）共事，以机构建筑、住房、私人住宅和城市规划为主。目前与其子佩德罗·古宾斯共同经营自己的事务所——古宾斯建筑事务所。

恩里克·布朗（1942-）

建筑师，1965年毕业于智利天主教大学，1968年获城市规划硕士。2010年获得智利全国建筑大奖。先后在智利和国外担任了54次竞赛的评委。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》。他的事务所关注的是可持续性和公益建筑。

费利佩·阿萨迪（1971-）

建筑师，1996年毕业于菲尼斯特雷大学，2006年获智利天主教大学建筑硕士。1999年起与弗朗西斯卡·普利多在阿萨迪与普利多建筑事务所合作。2011年后独立执业。在他的职业生涯中建造了大量项目，主要是私人住宅。近几年转向新的领域，包括酒店、房地产项目以及机构和教育建筑。

横向事务所

由智利大学毕业的建筑师克里斯蒂安·尤特罗尼科和塞瓦斯蒂安·巴劳纳创立。作为一个年轻的事务所在公共竞赛上有着卓越表现，包括与克里斯蒂安·费尔南德斯合作完成的加夫列拉·米斯特拉尔文化中心。

罗德里戈·杜克（1976-）

建筑师，2001年毕业于智利天主教大学。在与马赛厄斯·克洛茨合作之后于2003年开创了自己的事务所RDM建筑事务所。4年后赢得智利建筑师协会的青年建筑师奖。他为UDP设计的经济商业学院赢得了2015年西班牙语版ArchDaily的年度大奖。

马克斯·努涅斯（1976-）

建筑师，2004年毕业于智利天主教大学，2010年获哥伦比亚建筑规划与保护研究生院建筑学硕士。马克斯最初与吉耶尔莫·阿库尼亚和塞瓦斯蒂安·伊拉拉萨瓦尔合作，之后是贝尔纳多·巴尔德斯。2005年，马克斯与尼古拉斯·德尔里奥联合成立了dRN建筑事务所。现在他经营着自己的事务所。

路易斯·伊斯基耶多（1956-）

建筑师，毕业于智利天主教大学。2004年获得全国建筑大奖。1984年与安东尼娅·莱曼成立了伊斯基耶多·莱曼建筑事务所。凭借30多年的经验，事务所已成为智利经验最丰富的知名事务所之一。

马赛厄斯·克洛茨（1965-）

建筑师，毕业于智利天主教大学。在智利国内外均有大量私人和公共建筑作品。他还是天主教大学、费德里科圣玛丽亚大学、迭戈·波塔莱斯大学，以及威尼斯建筑大学的工作室教师。现任迭戈·波塔莱斯大学建筑、艺术与设计学院院长。

LAND建筑事务所

由菲尼斯特拉斯大学2007年毕业的建筑师玛丽亚·安哥拉·德洛伦索和克里斯托瓦尔·巴伦苏埃拉·霍伊斯勒组建。事务所通过以自然和景观为特征的公私项目形成了自己的特色。

亚历杭德罗·阿拉韦纳（1967-）

建筑师，1992年毕业于智利天主教大学，曾在威尼斯建筑大学进修历史与理论。1994年成立了自己的事务所，自2006年以来担任元素事务所的执行经理。元素事务所以设计社会住宅和公共基础设施为主，探索实现长期可持续性的新住宅设计。现任普利兹克建筑奖评委。

穆鲁亚-巴伦苏埃拉事务所

由2004年毕业于智利天主教大学的建筑师本哈明·穆鲁亚与同年毕业于智利大学的建筑师、视觉艺术硕士罗德里戈·巴伦苏埃拉创立。作为一个团队，他们从不同的角度审视各种项目，并积极与其他领域的专家开展合作。

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 Nuñez (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 Acuña 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西班牙语版主编/Editor in Chief, ArchDaily in Spanish

2015-05-05