Spotlight: Smiljan Radić

由专筑网周韦博，刘庆新编译

因2014年蛇型艺廊的展馆广为人知的建筑师Smiljan Radic（生于1965.06.21），已然成为智利建筑界的名人。通过其对形式、材料和自然独特的解读，Radic在近期的一些中小尺度的建筑中把玩着“易碎性”的概念。

Mainly known for his design of the 2014 Serpentine Gallery Pavilion, architect Smiljan Radić (born June 21, 1965) is one of today’s most prominent figures in Chilean architecture. With a distinctive approach to form, materials, and natural settings, Radić mostly builds small- to medium-sized projects that flirt with the notion of fragility.


Serpentine Pavilion/ Smiljan Radic/蛇形艺廊。Smiljan Radic Image © Iwan Baan

出生于圣地亚哥的Radic毕业于智利瓦尔帕莱索大学建筑学院，并于1995年开始其建筑实践。他的项目大多在本国。2001年，这些项目也为他赢得了智利建筑学院颁发的35岁以下最杰出建筑师的称号。他致力于一些小尺度的项目，包括住宅、餐馆和装置，这使他能够使用一些手工艺的加工技术，并且避免了大量的制造。Radic在近几年也承接了一些大型项目，包括VIK酿酒厂和圣地亚哥前哥伦比亚艺术馆。在2014年，他被任命为第十四届蛇型艺廊的设计者，并且和七位国际知名建筑师共同建造位于奥地利乡村Krumbach的公交站。

Born in Santiago de Chile, Radić graduated from the School of Architecture at the Universidad Católica de Chile, and opened his practice in 1995. He mostly built in his native country, where he was named the best architect under 35 by the Chilean College of Architects in 2001. His work mainly focuses on small-scale projects – houses, restaurants and installations – that allow him to use artisanal production techniques and avoid mass production. Radić also developed some larger projects in the past few years, notably the VIK Winery and renovation of the Chilean Museum of Pre-Columbian Art in Santiago. In 2014, he was commissioned for the 14th edition of the Serpentine Gallery Pavilion and was among the seven internationally well-known architects selected to build bus stop shelters in the Austrian village of Krumbach.


Zwing Bus Stop/ Smiljan Radic/Zwing公交站。Smiljan Radic Image © Yuri Palmin

他最著名的作品，蛇型艺廊体现了他最重要的一些思想。这个装置中，透明的玻璃纤维外壳悬立于巨型毛石堆之上。项目的赞助人Julia Peyton-Jones将其形容成一个“一个外星来的豆荚被置于新石器时代的场地上”，而Radic自己则点出这个项目包括了“手工”和“粗糙”的美学。Radic擅长使用不同质量和密度的材料，以产生可变性和永恒的对比，并且质疑时间和历史的意义。他将材料的易碎性看作一种经验的特质，能够展现出个体与所处环境的关系。

His best known work, the Serpentine Pavilion, demonstrated several themes essential to his architectural discourse. The installation consisted of a translucent fiberglass shell suspended on large quarry stones that curator Julia Peyton-Jones describes as "an alien space pod that has come to rest on a neolithic site," while Radić himself highlighted the project's "handmade" and "crude" aesthetic. Radić uses materials of different weight and density to contrast what is alterable from what is permanent, and questions matters of time and history. He sees this fragility of material as an experiential quality that exposes the relationship between individuals and their context.


Copper House 2/ Smiljan Radic/铜房子2。Smiljan Radic Image Courtesy of Smiljan Radic

在前期对易碎性结构的尝试后，他开始关注智利传统中的自我建造，这需要一定的灵活性以及改变惯用的材料和结构技术。他的项目出于一种连续进化的状态而非保持不变，最好的例子就是“铜房子2号”和“右角的诗住宅”。

Beyond the formal appearance of fragile structures, working within the Chilean tradition of self-construction requires flexibility to alter the project and change its materials or construction techniques. Projects are in constant evolution and not set in some permanent state: a necessity that Copper House 2 and House for the Poem of the Right Angle clearly exemplify.


Mestizo Restaurant/ Smiljan Radic/Mestizo餐厅。Smiljan RadicImage Courtesy of Smiljan Radic


Santiago Antenna Tower/ Smiljan Radic + Gabriela Medrano + Ricardo Serpell/圣地亚哥天线塔。Smiljan Radic+ Gabriela Medrano + Ricardo SerpellImage Courtesy of Smiljan Radic, Gabriela Medrano, and Ricardo Serpell

他的作品还质疑了那些传统的建筑与景观的关系。在Mestizo餐厅中，巨石被用作柱子来承受屋顶结构，同时这一场景能融入当地的花园景观当中。同样的，在圣地亚哥天线塔项目中，他采用轻质的脆弱的结构将其对景观的影响降到最小。这个塔在阴天中像幽灵一样漂浮，给人以不稳定的感觉。而VIK酿酒厂则与天线塔截然相反——大部分置于地下而非冲上天空——但是建筑依旧保持了易碎感：酿酒厂的入口是延展的玻璃纤维屋顶，而开放的广场上布满了乱石，这个景象与安第斯山脉无尽的景观融合的天衣无缝。

His work also questions the ephemeral character of architecture in relation to landscape. At the Mestizo Restaurant, heavy stones work as pillars to hold the roof structure, and merge with the landscape as garden elements. Similarly, his project for Santiago’s Antenna Tower (to be completed in 2017), with its light and fragile structure, minimizes damage to the landscape. The tower disappears like a ghost on cloudy days, giving it an unstable character. Radić’s VIK Winery couldn’t be more different to the tower – being mostly underground rather than reaching to the sky – but its architecture retains a sense of fragility; while the entrance to the winery is covered by an alterable stretched fabric roof, stones dispatched across an open plaza take part in the Andes’ timeless scenery.


The Winery at VIK / Smiljan Radic/VIK酿酒厂。Image © Cristobal Palma / Estudio Palma










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