来自专筑编辑张可娜，Zita，刘庆新的报道。智利建筑师Guillermo Hevia García 和Nicolás Urzúa Soler凭借“反思”已被选定为2015年青年建筑师计划（YAP）的获胜者。该装置将会在2016年3月在圣地亚哥展出，目的是为了营造不确定性和不可预知性，让人们期待下一个地方将会带来一个怎样的惊喜。
随着纽约、伊斯坦布尔、罗马、韩国，智利也被MoMA 和 MoMA PS1选中成为青年建筑师计划（YAP）五个成员国中的一个，他们致力于“支持创新设计的研究，促进新兴人才。”
接下来让我们做进一步的了解。
Chilean architects, Guillermo Hevia García and Nicolás Urzúa Soler, have been selected as the winners of the 2015 Young Architects Program (YAP) Constructo in Chile for their installation proposal, “Your Reflection." The installation will be inaugurated in March 2016 in Santiago, and aims “to build an uncertain experience, a situation of estrangement” so that the visitor is waiting to see “what is going to surprise them in the next place."
Along with New York, Istanbul, Rome and Seoul, Yap Contructo (Chile) is one of five versions of the Young Architects Program (YAP), carried out by MoMA and MoMA PS1, which aims to “support research in innovative design and promote emerging talent.”
Learn more about the proposal after the break.
Courtesy of Guillermo Hevia García + Nicolás Urzúa
编者注：文中括号中的数字所对应的灵感来源会附图示。
建筑师描述说：我们不确定“反思”到底是一种经验，还是一种幻想，或者一种景观，一个地方，一个物体，一个超现实主义的建造尝试或者这些元素的艺术组合。这种不确定的主旨是很难敲定的，但是我们还是可以去面对我们的客户，从他们的需求从而得到我们所要得出的解决方案。（1）
不确定是一个不舒适的位置。但肯定是个荒谬的位置。“-伏尔泰
我们打算建造一种不确定的体验，一种分离感，而这我们不再试图控制。人们移动时，凹凸镜面钢的反射和变形引起的二维平面上的可能性是无限的。（2）
我们希望游客能在下一刻得到出乎意料的惊喜。
该项目在“反思”这个词上诠释了两种定义，一种是字面的光学反射现象的物理意义，第二种是反思的精神层面，看到自己被反射而变形的模样，从而产生的反思。（3）
Note from the Editor: The numbers in parentheses in the text reference artistic inspiration that can be in the attached images.
Description from the architects: We do not know with certainty whether "Your Reflection" is an experience, an illusion, a landscape, a place, an object, an attempt at surrealist construction, an artistic approach or a mix of several of these. This unstable or uncertain position, facing something that is difficult to determine, but that is capable of questioning the visitor, and returning to something that gives sense to "the project", seduces us. (1)
"Uncertainty is an uncomfortable position. But certainty is an absurd position." - Voltaire
We have meant to build an uncertain experience, a situation of estrangement, one which we do not intend on controlling, as the possibilities of reflection and deformation provoked by the concave and convex mirrored steel bi-dimensional planes are infinite, as we moved through it. (2)
We want the visitor to be expectant of what is going to surprise them in the next place.
The project has its starting point in the two definitions of the word reflection, on one side the literal optical reflection (deformed and multiplied) in the physical sense of the phenomenon [A], and the reflection in a mental [B] sense, on seeing oneself reflected/deformed in the project, and that this duality generates a certain state of introspection. (3)
Courtesy of Guillermo Hevia García + Nicolás Urzúa
题目名称暗示正是这双重条件：“Your Reflection”，里面的人称代词“Your”暗示访客存在于该项目中，该项目也能在访客中产生一些东西。没有访客作为见证人，“项目”就不存在了。（4）
你不再只是观察者，而是身在其中，它包围着你，围绕着你，成为它的一部分，它成为你的一部分，这种被动和主动，伴随着我们对事物和自我的观察反思。
这种具体体验是通过两步操作实现的：
首先是对地形的定义，被草皮和海绵状植被覆盖的山丘上，有着数不清的五颜六色的野花（5），同时还有条狭窄的小溪穿过。这可能是在一个野生草地或Alfred Sisley的画中（6）才能想象出来的一幅景象。我们认为自然的山坡和植被是人们最想要停下来休息或躺下来的地方。
The name that we have given the proposal alludes precisely to this double condition: "Your Reflection", where the personal pronoun "you(r)" alludes to the project existing in the means that the visitor is in it, and with it, and the project is capable of producing something in this visitor. Without this witness, "the project" would not exist. (4)
It is not just about looking at the project, but letting it surround you, envelop you, to become part of it, and that it becomes part of you, passively and actively, following our own capacities of observation and reflection.
The materialization of this experience is achieved through two operations:
The first is the definition of a support or topography, a landscape with smooth mounds, covered in grass and spongy vegetation, colored by an infinite number of different wild flowers (5), and that will also be covered by a small creek that could be crossed with a simple leap. This landscape is taken from an imaginary location which may be a wild meadow or the moment of some painting by Alfred Sisley (6). We believe that the natural (artificial) slope and sponginess is one of the most pleasant places to walk, sit down, rest or lie down.
Courtesy of Guillermo Hevia García + Nicolás Urzúa
其次是三个镜像钢的插入，建立了一系列内外空间，剔除这种限制，使其消失，让周围的环境被反射出来得到实现。
这些带状墙壁是使用丰富的凹陷和凸起，立在同一水平面的3.2米处，只有40毫米的厚度（7），几乎没有依靠其他工具，通过自撑，把它锚定到地面上，只有最小的点对施工有要求。
这三个二维平面的关系，形成了一个不对称的体量，几乎打破了建筑形式。然而人们对于建筑形式本身并不感兴趣，真正感兴趣的是镜像平面之间的相互作用所产生的曲线和反曲线，那里有因为反射和变形的相互作用所产生的幻想世界，这是超现实的，在大自然中，垂直反射并不存在。（8）
The second operation is the insertion of three mirrored steel bi-dimensional planes, which build a series of inside and outside spaces, eliminating the limits, disappearing, letting its reflected surroundings become the real project.
These tapes are formed and structured using an abundance of concavities and convexities which allow self-supporting and standing on the same level of 3.2 m and with only 40 mm of thickness (7), almost without elements that anchor it to the ground, only the minimal points that the construction requires.
It is the relationship between these 3 bi-dimensional planes that forms an asymmetric volume, almost broken up, where the construction of the form itself does not interest us, rather than the interaction between the mirrored planes, the curves and the counter-curves, where we have multiplied the amount of reflecting and deformation situations in order to produce an interaction belonging to a world of illusions, more surreal than real given that, in nature, vertical reflection does not exist. (8)
Courtesy of Guillermo Hevia García + Nicolás Urzúa
正如它发生在“日出和日落的宫殿”（9），那里是没有水平屋顶元素的，光线和阴影的形成和投射到地面上的效果是垂直方向上的飞机所导致的。接近的飞机大多数情况下将倾向于阴凉处的山丘，产生一个样板环境，这也通过声音和贯穿这一景观的流淌的小溪来表现。
在1980到1984期间的巴塞罗那，Jose Antonio Coderch在对ETSAB （10）阳台扩建的项目上已经用过了垂直平面和投射阴影的做法。
Just as it happens in the “Palacio del Alba y el Ocaso” (9), there are no horizontal roof elements, the light and the shade are formed and projected on the ground by the effect on the vertical plane. The proximity of the planes will be inclined to shade the mound for most of the day, generating a template environment, which is also refreshed by the sound and the presence of the creek running through this landscape.
The same resource of vertical planes and projected shadows admirably used by Jose Antonio Coderch to form and shade the terrace of the Extension of the ETSAB building (10), built in Barcelona between 1980 and 1984.
Courtesy of Guillermo Hevia García + Nicolás Urzúa
曲线，反曲线和现实本身，在很多时候，我们是在不同的距离面对对方，并将产生对宇宙的反思和想象，就像我们身在René Magritte （11）的绘画中，亦或面对 Francis Bacon做的肖像画（12）。当我们进入这个建筑的过程中，这种体验就产生了，我们接近的程度是不同的，我们接近它，接触它，然后我们就离开了。这些情况意味着更多的人们将走过这个地方，生成无限增加的色彩和行为编织的舞蹈。
The curves, counter-curves and the fact that, at many moments, the tapes are facing each other and at different distances, will generate a universe of reflections, multiplications and deformations, as if we were in a painting of René Magritte (11), or even facing some portraits by Francis Bacon (12). This experience is achieved as we move into the project, our degree of approach varies, we approach it, touch it, we move away. These situations are intensified in the means that more bodies move through this place, generating choreographing of colors and movements that will be infinitely multiplied.
Courtesy of Guillermo Hevia García + Nicolás Urzúa
我们曾想将客体计划的核心转变成主体体验、交流互动关系及其他。如何在游客面前反映他们周围的环境和背景。最后，我们不打算建立一个封闭的空间，而是建立一个无限的感觉和开放的空间，许多事情可能都会发生。
We have wanted to change the center of the object's proposal to the experience of the subject, their interaction and that of others, and how their surroundings or context will be reflected and deformed with them and before them. In the end, we do not intend on building a closed proposal, but rather articulating a universe of sensations and experiences open to many things taking place.
Courtesy of Guillermo Hevia García + Nicolás Urzúa
[A] 当障碍物被放置时，光的方向发生物理变化。
[B]通过小心、全面地考虑一些事情来彻底地去学习它，了解它。
[A] RAE 1. f. Physical change of direction or of the direction of the light, of the heat or of the sound when an obstacle is put in the way.
[B] RAE 2. f. Though or consideration of something with attention and thoroughness to study it and understand it well.
Courtesy of Guillermo Hevia García + Nicolás Urzúa
Axonometric/轴测图
Axonometric/轴测图
Axonometric/轴测图
Plan/平面图
Section/剖面图
Courtesy of Guillermo Hevia García + Nicolás Urzúa
建筑设计：Guillermo Hevia García, Nicolás Urzúa Soler
项目位置：智利 圣地亚哥 康帝区
项目合作：Cristian Fuhrhop, Felipe Droppelmann, Cristóbal Montalbetti y Diego Rivera
Client: Constructo
项目客户：Constructo
项目时间：2016年
建筑摄影：Courtesy of Guillermo Hevia García + Nicolás Urzúa
Architects:: Guillermo Hevia García, Nicolás Urzúa Soler
Location:: Araucano Park, Las Condes, Las Condes, Santiago Metropolitan Region, Chile
Collaborators:: Cristian Fuhrhop, Felipe Droppelmann, Cristóbal Montalbetti y Diego Rivera
Client: Constructo
Project Year: 2016
Photographs: Courtesy of Guillermo Hevia García + Nicolás Urzúa
出处：本文译自www.archdaily.com/，转载请注明出处。
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