智利圣地亚哥大学商业与经济学院FAE大楼——漫步式教育空间_建筑_设计案例作品

发布时间：2023-10-27 19:55:27 {{ caseViews }} {{ caseCollects }}

设计亮点

圆形环绕走廊、斜向功能、多彩的垂直运输装置。

如果建筑能够塑造人类的行为，那么本项目的设计目的是旨在提倡自由漫步的行为，并促进形成亚里士多德意义上的“好公民”的工具，成为能够长期承担国家和社会责任的形象。

If it is up to Architecture to shape the acts of man, we propose that the main act to be developed in the FAE building be wandering, as a tool to facilitate the integral formation of “good citizens”, in Aristotelian sense, capable of assuming long-term leadership positions in the state and society.

▼大楼外观，Exterior view © Pablo Casals Aguirre

设计者提出了社区步行道——一个圆形的环绕走廊的概念，其中有倾斜角度的走廊不再是简单地通向某个地方，而是像Careri所说的那样，以有序的方式将学习空间和社交空间连接了起来。从入口广场开始，然后是中央庭院、露台、阳台，直到屋顶的景观露台，校园里的人能够从7楼或13楼俯瞰整个校园以及城市的景色。

▼鸟瞰区位分析图，bird’s eye analysis © Marsino Arquitectura

We propose a community walk, a circular peripathetic ambulatory, where the ramped corridors no longer simply lead to places, but are instead places as Careri says, that link study spaces with socialization spaces in a sequenced manner, starting in the access square, continuing in the central patio, the terraces and balconies until reaching the landscaped terrace roof to observe the campus, the city and the territory from the 7th or 13th floor.

▼鸟瞰，Bird’s eye view © Pablo Casals Aguirre

▼周边环境，Sourrounding context © Pablo Casals Aguirre

Claude Parent和Paul Virilio提出，新人类要学会居住在对角空间、有角度的平面上，并且放弃笛卡尔轴的理论，这是人类在身体和意识进化过程中对于居住空间要求的转变，根据这些转变需要不断调整建筑的位置和由于重力和摩擦力引起的潜在负荷：因此“斜向功能”成为了另一种选择。

▼透视图，perspective © Marsino Arquitectura

Claude Parent and Paul Virilio proposed that the new man learn to inhabit the diagonal, the oblique plane, to abandon the Cartesian axes as a natural evolution of human habitation in full bodily consciousness, constantly adjusting his position, his potential load due to gravity and the friction: the “oblique function” was presented as an alternative.

▼大楼入口处，Entrance of the building © Pablo Casals Aguirre

在教育建筑领域内经过二十年，Marsino Arquitectura对于坡道相关项目已经从对抗排斥的元素转变为教育空间的变革元素，能够塑造一种动态的、自由的和参与性的场景，给人有趣和意想不到之感，例如智利大学Juan Gómez Millas校区演讲厅建筑中的自行车通道或佛罗里达州职业技术高中的设计。

▼等轴分析图，isometric view © Marsino Arquitectura

▼等轴剖面分析图，horizontal section © Marsino Arquitectura

Through two decades of practice in educational architecture, the use of ramps as a project argument has evolved in Marsino Arquitectura from an effective element to confront exclusion to a transforming element of the educational space, a performative scenography that promotes dynamic, free and participatory actions, rather playful and unexpected, such as the transit of bicycles in the case of the Lecture Hall Buildings at Juan Gómez Millas Campus of the University of Chile or human development in the case of the Professional Technical High School of La Florida.

▼中庭空间，Autrim © Pablo Casals Aguirre

在设计者的实践中，他们的作品向居民们更加有意识的建筑进行演变，他们称之为从建筑对象道建筑主体的转变，这意味着会接触到不可预见的情况，这会超出建筑师的权威，但仍属于建筑师的范畴。

▼大楼内部透视图，Building interior perspective view © Marsino Arquitectura

The evolution towards a more conscious architectural experience of the inhabitant, which in our practice we call the transition from the architectural Object to the Subject of architecture, implies the decision to approach the unforeseen, what is beyond the authority of the Architect and belongs to the potential loads of its inhabitants.

▼仰视，Looking up © Pablo Casals Aguirre

色彩方面是以智利壁画家Mono Gonzalez的作品为灵感，使用了鲜艳突出的颜色展示了坡道和垂直运输装置（电梯和自动扶梯），这种颜色的选择能够呈现动态、自由、有趣和意想不到的效果，在中央庭院周围形成表演性的风景元素。

Highlighted by vibrant colors according to the palette of the Chilean muralist Mono Gonzalez, the ramp and the vertical transport mechanical devices (elevators and escalators), elements of a performative scenery that promote dynamic, free and playful or unexpected actions such as the transit of bicycles around of the central patio.

▼楼梯设计细部，Details of the stairs © Pablo Casals Aguirre

设计者试图将FAE建筑的特殊形态和混合形象与周边的城市环境建立对话，并融入“蜗牛建筑”、人行天桥和马戏团帐篷等流行元素，同样的，建筑物的非固定形象能够允许在未来进行一定程度的修改、添加和改造，这属于设计者适应性策略的一部分。

The heterogeneous or hybrid image of the FAE building tries to establish a dialogue with the urban context that surrounds us, incorporating popular elements such as the commercial “snail building”, the pedestrian bridge and the circus tent, in the same way, the non-finite image of the building or in transformation process that admits future modifications and additions, are part of an adaptive strategy and reflection of our mestizo origin.

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