尼古拉斯·巴倫西亞/Nicolas Valencia

尚晉 譯/Translated by SHANG Jin

1 墨西哥地域生態(tài)區(qū)域/Mexico Territorial Ecoregions（圖片來(lái)源/Adapted design from ? INEGI, CONABIO, INE, under license CC BY-NC-SA 2.0.）

2 墨西哥生物多樣性宏觀區(qū)域/Mexico Biodiversity Macroregions（圖片來(lái)源/Adapted design from ? Slow Food）

3 墨西哥受到聯(lián)合國(guó)教科文組織認(rèn)可的世界遺產(chǎn)數(shù)量全球排名第七，其27個(gè)文化城市中有9個(gè)是歷史中心，比如瓜納華托，還有城市，比如圣米格爾德阿連德，該圖是從墨西哥中部的佩皮拉紀(jì)念碑鳥(niǎo)瞰瓜納華托歷史中心。/Mexico ranks 7th worldwide in number of World Heritage Sites recognized by UNESCO. 9 out of 27 cultural cities are historic centre, such as Guanajuato, or whole cities, such as San Miguel de Allende. In this photo, the historic centre of Guanajuato seen from El Pípila Monument in Central Mexico. （攝影/Photo: ? Nicolas Valencia）

4 位于墨西哥中部圣米格爾德阿連德的圣米格爾阿坎格爾教區(qū)教堂/La Parroquia de San Miguel Arcángel in San Miguel de Allende, Central Mexico（攝影/Photo: ? Nicolas Valencia）

每個(gè)人都自以為對(duì)墨西哥了如指掌，或者至少對(duì)這個(gè)國(guó)家略知一二——即便是錯(cuò)誤的認(rèn)識(shí)。

這不足為奇，因?yàn)檫@種認(rèn)識(shí)主要來(lái)自旅游、飲食和媒體宣傳。首先：墨西哥是世界第七大旅游目的地，2018 年共迎來(lái)4100 萬(wàn)游客[1]。這一定程度上是由于它“非凡的自然和文化資源，并有效地結(jié)合了強(qiáng)大的價(jià)格競(jìng)爭(zhēng)力”[2]。其次，墨西哥美食舉世聞名——卻被錯(cuò)誤地解讀，而且常常被簡(jiǎn)單化。2010 年，它被列入U(xiǎn)NESCO《人類(lèi)非物質(zhì)文化遺產(chǎn)代表作名錄》1）。再次，美國(guó)媒體和娛樂(lè)業(yè)關(guān)于墨西哥形象的宣傳是面向全球的。所有這些塑造出來(lái)的全球性印象與墨西哥真正的文化、社會(huì)、經(jīng)濟(jì)和語(yǔ)言多樣性和密集程度相去甚遠(yuǎn)。像旅行作家及小說(shuō)家保羅·泰魯在《野獸日?qǐng)?bào)》最近的一次采訪中所說(shuō)的那樣，墨西哥并不是“炸玉米餅、寬沿帽和流浪樂(lè)隊(duì)”[3]。

墨西哥有1.3 億人居住在近200 萬(wàn)km2[4]的土地上，并以太平洋、格蘭德河、墨西哥灣和恰帕斯山脈為界。首都位于特斯科科湖干燥的頂部，1500km2的面積上住有2200 萬(wàn)人2）。

“墨西哥是一個(gè)大洲，而墨西哥城自成一國(guó)”[5]。從西班牙帝國(guó)獨(dú)立以后，墨西哥建立了第一個(gè)自治區(qū)劃（1821-1823），范圍從今天美國(guó)俄勒岡和愛(ài)達(dá)荷州的南部行政邊界到今天中美洲的哥斯達(dá)黎加[6-7]。

Everybody thinks to know a lot about Mexico.Or at least has an idea about the country - even if it is stigmatisation.

It should not be a surprise to knowledge this sentence mainly to tourism, gastronomy and media narratives. First: Mexico is the world's seventh top destination, receiving 41 million tourists in 2018[1],explained partially because of "exceptional natural and cultural resources, which combine effectively with relatively strong price competitiveness"[2]. Second,Mexican gastronomy has become one of the most famous - but misunderstood and often simplified -around the world. In 2010 was inscribed in UNESCO's Representative List of the Intangible Cultural Heritage of Humanity1). Third, the media and entertainment industry in the United States narratives about what Mexico is for a global audience. All these global melted imaginary is far from how cultural, social, economic,and linguistic diversity and density Mexico really is.Mexico is not "tacos, sombreros, and mariachis", as travel writer and novelist Paul Theroux declared in a recent interview to The Daily Beast[3].

Mexico accounts for 130 million people living in almost 2 million square kilometres[4]defined by the Pacific Ocean, the Rio Grande, the Gulf of Mexico and the Chiapas mountain range; 22 million people living in a capital city of 1,500 square kilometres2)on top of the desiccation of Lake Texcoco.

"Mexico is a continent; Mexico City, a country itself"[5]. After its independence from the Spanish Empire, Mexico embraced its first autonomous territorial configuration (1821-1823) from the current political southern borders of Oregon and Idaho in the United States to currently Costa Rica in Central America[6-7].

We know that political boundaries are not a scientific thing, but, of course, political; built by hand by wars, declarations, negotiations and national imaginary about what and who we are people. The first way to understand today's Mexico is through its ecosystems, which house about 12% of biodiversity and 7% of the planet's ecoregions[8]. Thus we must speak of the great plains, the North American deserts, the Mediterranean California, the semi-arid elevations of the south, the temperate mountains, the dry tropical forests and the humid tropical forests.

Mexico is also a multicultural nation: Rolando Ca?as[9]recognises 65 ethnic groups, and according to the classification criteria we consider, between 59 and 287 indigenous languages. Consider also the subsequent influences of the Spanish empire in its colonisation process and the most recent migrations in the twentieth and twenty-first centuries.

Knowing the historical cases of countries like Spain, China, and Italy, one may imagine that the cultural density of Mexico would allow us to talk about Mexican architectures. Thus, in the plural form.

To contrast that vision, I talked with the Argentine architect Mariano Ferretti (1973)3-4), who taught in four Mexican cities - Leon, Guadalajara,Monterrey and Queretaro - between 2010 and 2018. My idea is to contrast my hypothesis about Mexican architectures.

"Although we know that Mexico is not a small country, it is not large in extension either. And it doesn't have much political frontier, but it does have a lot of density," Ferretti says. Mexico's main political frontier is shared with the United States and this historical condition for both sides is well pictured by the oft-quoted words of the late Mexican dictator Porfirio Díaz: "Poor Mexico. So distant from God, so close to the United States"5)[10].

"The enormous density that apparently crosses Mexican architecture is because Mexico is evidently made up of a lot of regions that are culturally well defined," Ferretti acknowledges. Is this idea reflected in the architecture?

"Being an absolutely diverse country and full of cultures that live together and try to find borders to build a possible coexistence, Mexico is too centralised and everything goes through two or three channels," says the Argentine architect.Faced with the challenge of dividing the country's architectural production geographically, Ferreti proposes three geographical macro zones.

North

Currently Monterrey is one of the three most populous cities[11]in Mexico and the centre of the national manufacturing industry[12], while the real estate market have been aligned to this economic development. "It's a real territorial explosion," says Ferretti, picturing the architectural development mainly focused on the production of real estate developments.

"The architecture that is thought and done in the north is the one that is dominated by the local architects in Monterrey," says Ferretti, who lived in the northern city between 2017 and 2018. "I could perfectly appreciate the locality of its regio architects", says the Argentine architect referring to the Mexican slang demonym for residents of Monterrey, "but also the cosmopolitanism that is investigating them all the time and a kind of competition in relation to the architects of Mexico City," he adds, highlighting Rodrigo de la Pe?a,Landa + Martínez, Bernardo Hinojosa, Daniel Arcq and Guadalupe-based architect Alexandre Lenoir.

"In Northern Mexico there is an architecture constantly struggling between recognising itself as Mexican architecture and between belonging to the most cosmopolitan club, with a special link to the south of the United States," says Ferretti,while recognising the contradictory relationship of schools of architecture of the north with the centre of gravity that represents the architecture of Mexico City. "These Chilangos architects - slang for citizens of Mexico City - who are those who go throughout the republic and are admired by schools. On the one hand they complain and on the other they always resort to the centrality of the capital," says Ferretti.

Ferretti tries to synthesise in a few words an imaginary of contemporary royal architecture: glass,metal, "a lot of photographic spectacle, photographic perspective, a lot of preparation for sale", with a main interest in design and construction of residential buildings in height and of high standard."We are not talking about social housing," says Ferretti, "because there is no production of social housing by the State. Also, there is no interest in that happening. This is evident, I do not say. Anyone who goes perfectly can see it," he adds.

5 從Silla山上鳥(niǎo)瞰蒙特雷/ A view of Monterrey, Mexico, from The Cerro de la Silla（攝影/Photo: ? Guillermo Otero, under license CC BY-SA 2.0. ）

我們知道行政邊界與科學(xué)無(wú)關(guān)，而無(wú)疑是政治的產(chǎn)物；它是用雙手，通過(guò)戰(zhàn)爭(zhēng)、宣言、談判以及關(guān)于我們民族特征和身份的國(guó)家形象建立起來(lái)的。認(rèn)識(shí)今天墨西哥的第一個(gè)渠道是通過(guò)它的生態(tài)系統(tǒng)，它包含了12%的生物多樣性和7%的地球生態(tài)區(qū)[8]。因此，在這里必須要提到大平原、北美沙漠、地中海氣候的加利福尼亞州、南部半干旱的高地、氣候溫和的山區(qū)，以及干旱和濕潤(rùn)的熱帶雨林。

墨西哥還是一個(gè)多文化的國(guó)家：羅蘭多·卡尼亞斯[9]辨別出65 個(gè)民族群體。根據(jù)選擇的分類(lèi)標(biāo)準(zhǔn)不同，土著語(yǔ)言可分為59～287 種。這里還要考慮到西班牙帝國(guó)的殖民過(guò)程，以及20-21 世紀(jì)近期移民的后果。

在了解西班牙、中國(guó)和意大利等國(guó)家的歷史之后，就會(huì)認(rèn)為墨西哥的文化密集程度可以讓我們討論墨西哥多元建筑。因此它不是單一的。

為了通過(guò)對(duì)比突出這個(gè)觀點(diǎn)，我要談?wù)勁c阿根廷建筑師馬里亞諾·費(fèi)雷蒂（1973 年）3-4）的對(duì)話。他從2010-2018 年在4 個(gè)墨西哥城市授課——萊昂、瓜達(dá)拉哈拉、蒙特雷和克雷塔羅。我的想法是以對(duì)比突出本文關(guān)于墨西哥多元建筑的假設(shè)。

“雖然我們知道墨西哥不是一個(gè)小國(guó)，但它也并非幅員遼闊。邊境不多，密度卻很高?！?費(fèi)雷蒂說(shuō)。墨西哥主要同美國(guó)接壤。關(guān)于兩國(guó)的這種歷史狀況，已故的墨西哥總統(tǒng)波爾菲里奧·迪亞斯有句膾炙人口的名言：“可憐的墨西哥，上帝在天邊，眼前是美國(guó)?！?）[10]

“在墨西哥建筑上可以看到驚人的密度，原因在于墨西哥是由許多文化特色鮮明的區(qū)域組成的?！?費(fèi)雷蒂表示。但這種觀點(diǎn)體現(xiàn)在建筑上了嗎？

“作為一個(gè)絕對(duì)多元化的國(guó)家，共生的多元文化在這里嘗試建立并存的邊界，但墨西哥過(guò)于集中化，一切都要從兩三條渠道經(jīng)過(guò)。”這位阿根廷建筑師說(shuō)。面對(duì)從地理上劃分這個(gè)國(guó)家建筑作品的挑戰(zhàn)，費(fèi)雷蒂提出了三大宏觀地理區(qū)。

北部

今天，蒙特雷是墨西哥人口最多的三大城市之一[11]，也是國(guó)家制造業(yè)的中心[12]。房地產(chǎn)市場(chǎng)與這一經(jīng)濟(jì)發(fā)展?fàn)顩r是相符的?！斑@是一場(chǎng)真正的地區(qū)性爆發(fā)?！?費(fèi)雷蒂描繪著以房地產(chǎn)開(kāi)發(fā)項(xiàng)目為主的建筑發(fā)展?fàn)顩r。

6 鳥(niǎo)瞰Reforma大道上諸多摩天大樓，除了可見(jiàn)去往Chapultepec公園的通道，也展示了墨西哥城的金融力量和經(jīng)濟(jì)發(fā)展/An aerial view of several skyscrapers in Paseo La Reforma not only highlight access to Chapultepec Park, but the financial power and economic development of Mexico City. （攝影/Photo: ? Jos Macouzet | Shutterstock）

“北部設(shè)計(jì)建成的建筑以蒙特雷當(dāng)?shù)亟ㄖ煘橹?，?費(fèi)雷蒂說(shuō)。他從2017 年到2018 年就住在北部城市?！拔沂仲澷p‘雷希奧’建筑師的當(dāng)?shù)靥厣?，”這位阿根廷建筑師用了稱(chēng)呼蒙特雷居民的墨西哥俚語(yǔ)，“以及一直在考驗(yàn)他們的世界性觀念和與墨西哥城建筑師的某種競(jìng)爭(zhēng)?！彼a(bǔ)充道，并特別提到了羅德里戈·德拉培尼亞、蘭達(dá)+馬丁內(nèi)斯事務(wù)所、貝爾納多·伊諾霍薩、丹尼爾事務(wù)所和在瓜達(dá)盧佩的建筑師亞歷山大·勒努瓦。

“墨西哥北部有一種建筑一直在兩種身份之間掙扎：作為墨西哥建筑，還是加入最具世界性的俱樂(lè)部，并與美國(guó)南部保持特殊的聯(lián)系?！?費(fèi)雷蒂說(shuō)道，并承認(rèn)北部的建筑學(xué)校與代表墨西哥城建筑的重心之間存在著矛盾關(guān)系?！斑@些‘基蘭戈’建筑師——墨西哥城市民的俚語(yǔ)——在合眾國(guó)四處游訪，并受到各個(gè)學(xué)校的追捧。一方面，他們抱怨不停，另一方面又總是求助于首都的中心地位?！?費(fèi)雷蒂說(shuō)。

費(fèi)雷蒂試圖用寥寥數(shù)語(yǔ)概括出當(dāng)代皇家建筑的形象：玻璃、金屬、“許多上相的拍攝角度，大量銷(xiāo)售鋪墊”，主要關(guān)注高標(biāo)準(zhǔn)高層住宅的設(shè)計(jì)和施工。“這不是指社會(huì)保障住房，” 費(fèi)雷蒂說(shuō)，“因?yàn)閲?guó)家沒(méi)有社會(huì)保障住房，而且也沒(méi)有興趣這樣做。這顯而易見(jiàn)，無(wú)需多言。對(duì)于任何人都是一目了然的?！彼a(bǔ)充道。

中部，墨西哥城

在描述墨西哥的中部地區(qū)時(shí)，就要用墨西哥城來(lái)分析。這座特大城市雖然有全國(guó)18%的人口和0.3%的土地，卻貢獻(xiàn)了25%的GDP[13]。原因在于它集中了大部分經(jīng)濟(jì)、文化和政治權(quán)力。因此，在國(guó)外“基蘭戈”建筑就可以理解為墨西哥特色建筑。

“這些來(lái)自全國(guó)中心的建筑師在作品、資本和材料資源方面有著天壤之別，” 費(fèi)雷蒂表示。然而，“有一代建筑師無(wú)法在首都進(jìn)行創(chuàng)作，而一直在四處游走或?qū)ふ夜ぷ?，因?yàn)樗麄円彩敲曉谕獾慕ㄖ?，并由核心?lái)宣傳，即最重要的印刷雜志。他們這些人最后總會(huì)在各種大會(huì)上現(xiàn)身，并在整個(gè)地區(qū)創(chuàng)作建筑?！?/p>

7 瓦哈卡鳥(niǎo)瞰/An aerial view of Oaxaca, Mexico（攝影/Photo: ? Leonardo Emiliozzi | Shutterstock）

這位阿根廷建筑師在“基蘭戈”建筑上看到了墨西哥當(dāng)代作品中的精華。其中有的集成了1940-1950 年代墨西哥現(xiàn)代主義的厚重遺存?！案駯藕屯ピ旱倪\(yùn)用，以及將陽(yáng)光作為創(chuàng)作材料的手法，賦予了其‘熱帶特色’。它代表了特奧多羅·岡薩雷斯和亞伯拉罕·扎布盧多斯基的巔峰時(shí)代?！?在費(fèi)雷蒂眼中，有一代人“幾乎是被迫繼承這種建筑的”。與此同時(shí)，由米歇爾·羅伊金德帶領(lǐng)的先鋒團(tuán)隊(duì)最近提出了新的施工方法和對(duì)形式化設(shè)計(jì)方法的新應(yīng)用。不過(guò)，費(fèi)雷蒂說(shuō)：“很多人最后都投向了對(duì)墨西哥光榮歷史的再闡釋?！?/p>

費(fèi)雷蒂重點(diǎn)提到了MMX，一個(gè)由豪爾赫·阿爾維祖、伊格納西奧·德?tīng)柪飱W、埃曼努埃爾·拉米雷斯和迭戈·里卡爾德創(chuàng)立的事務(wù)所（“我對(duì)他們作品的質(zhì)量贊嘆不已”），隨后停下來(lái)展示當(dāng)代墨西哥建筑的一個(gè)現(xiàn)象。“如果說(shuō)墨西哥現(xiàn)在有什么特色，那就是我眼中從各個(gè)方面給墨西哥男權(quán)主義帶來(lái)沖擊的女權(quán)主義運(yùn)動(dòng)。這種轉(zhuǎn)變?cè)诮ㄖ嫌泻芏啾憩F(xiàn)。”他說(shuō)。

費(fèi)雷蒂的印象在“基蘭戈”建筑的一系列女性領(lǐng)袖身上得到了證實(shí)：弗里達(dá)·埃斯科韋多（“守在記憶的一邊、對(duì)材料的運(yùn)用、通過(guò)試驗(yàn)將平凡的元素提升到更高的范疇”）；塔蒂亞娜·畢爾巴鄂，以她作品的格柵、立面、通透性為亮點(diǎn)；羅薩娜·蒙鐵爾，在研究領(lǐng)域頗受認(rèn)可（“以小品和設(shè)施、對(duì)公共空間的干預(yù)為焦點(diǎn)”）；加芙列拉·埃切加雷+豪爾赫·安布羅西（安布羅西-埃切加雷事務(wù)所）和葆拉·莫拉萊斯+費(fèi)爾南多·貝拉斯科（AS/D 設(shè)計(jì)聯(lián)盟）。

費(fèi)雷蒂表示這一代人并沒(méi)有去恢復(fù)遺存，而是“在回憶。那是流淌在她們血液中的東西?！碧貏e提到的是加芙列拉·卡里略和毛里西奧·羅查，她們一直在墨西哥各地創(chuàng)作，并成功地通過(guò)某些項(xiàng)目實(shí)現(xiàn)了轉(zhuǎn)型，比如瓦哈卡藝術(shù)學(xué)校，是“近年來(lái)墨西哥建筑最美的作品之一”。

這些墨西哥建筑師的母校在這種敘事中有重要的關(guān)系——這在拉美各地也能看到。公立和私立學(xué)校在風(fēng)格定義方法上的差別體現(xiàn)在智利（智利大學(xué)和智利天主教大學(xué)）和哥倫比亞（國(guó)立大學(xué)和安第斯大學(xué)）的話語(yǔ)中，這里只是幾個(gè)更突出的例子。費(fèi)雷蒂給墨西哥城的建筑師作了更具體的描述：他們要么在公立、免費(fèi)的墨西哥國(guó)立自治大學(xué)（UNAM）接受教育，要么去幾所著名的私立學(xué)校，比如拉美大學(xué)的圣菲校區(qū)或阿納瓦克大學(xué)。

8 瓦哈卡的殖民時(shí)期立面/Colonial fa?ades in Oaxaca, Mexico （攝影/Photo:? Lev Levin | Shutterstock）

Centre | Mexico City

When it comes to describe the central region of Mexico, we speak about Mexico City, for antomasy. A megalopolis that, despite accounting for around 18%of the total population of the country and covers less than 0.3 percent of the territory, contributes around 25 percent of the National Gross Domestic Product(GDP)[13]due concentrating most of its economic,cultural, and political power. Thus it is plausible that outside the country, the Chilango architecture may be understood as the Mexican architecture.

"There is a tremendous disproportion not only in production, capital and material resources with respect to these architect from the centre of the country, " recognises Ferretti. However, "there is a generation of architects who, unable to build in the same capital, are travelling or trying to find jobs all the time, because they are also known architects,published by the centrality, that is, the most important print magazines, they are the ones who always end up appearing in congresses and it is they who travel throughout the territory".

The Argentine architect recognises in Chilango architecture the best of Mexican contemporary production. And some of them collect the massive legacy of the modernism in Mexico in the 40s and 50s. "It was tropicalised by using latticework and courtyards, working with sunlight as a material. It represents the brightest era of Teodoro González and Abraham Zabludovsky". Ferretti sees a generation that takes over "almost as if they were forced to be the continuators of this architecture." At the same time, a vanguard led by Michel Rojkind had recently addressed new constructive methods and new applications of formal design methods. However,Ferretti says, "many ended up succumbing to the reinterpretation of the Mexican virtuous past."

Ferretti highlights MMX, an office founded by Jorge Arvizu, Ignacio del Río, Emmanuel Ramírez and Diego Ricalde ("I was positively surprised by the quality of what they are doing") before stopping and posing a phenomenon in contemporary Mexican architecture. "If there is something that Mexico is having, it is the Feminist Movement that seems to me that it has been kicking the board for what is the Mexican hetero-patriarchal hegemony in every way. That transformation is being seen a lot in architecture," he says.

The impression of Ferretti is confirmed in the range of female leaders in the Chilango architecture:Frida Escobedo ("Set on the side of remembrance,the use of the material, experimenting on ordinary elements elevated them to a higher category"); Tatiana Bilbao, whom highlights her work of latticework,the facade, the permeability; Rosana Montiel, whom recognises most on the research field, ("Focused on small artifacts and devices, interventions in the public space); Gabriela Etchegaray + Jorge Ambrosi(Ambrosi Etchegaray), and Paola Morales + Fernando Velasco (AS/D Design Association).

Ferretti states that it is a generation that is not recovering a legacy, but "remembering. It is something that they carry in their blood." Special notes go to Gabriela Carrillo and Mauricio Rocha,who have been working throughout Mexico and have managed to reconfigure themselves very well from certain projects, such as that of the Oaxaca School of Arts, "one of the most beautiful works of Mexican architecture in recent years."

The alma mater of these Mexican architects has a significant relevance in this narrative -something also recognisable across Latin America.The differences between public and private schools methodologies to define styles is present in Chilean discourses (University of Chile and the Pontifical Catholic University of Chile) and Colombia as well(National University and Los Andes University),to name a few more marked cases. Ferretti offers a more specific profile of the architects of Mexico City:either, they were trained at the National Autonomous University of Mexico (UNAM), public and cost-free education, or in a couple of renowned private schools such as the Universidad Iberoamericana's Santa Fe Campus or the Anáhuac University.

"If something fascinating and fabulous Mexico has is that these architects who leave private universities, far from staying in practice in the upper class demand, many of them know how to touch other social fibers, because sooner or later they end up stroking those fibers. This is not only the most dramatic, but also the most characteristic of Mexican architecture: although they look like compartments that seem very tight, they are not so. The truth is that everyone is very aware of the point in which society is, at the point of dissolution and the role that each one must embody for things to improve. It seems to me that the different strata begin to take charge of assuming that role," says Ferretti.

"I think that Productora is a bit with the question of the language of the architecture of the years of the modern movement, trying to recover that porous language, very thick with shadows, with the rhythmic use of certain abstract elements that are repeated on the fa?ade, the Courtyards theme.

South

Ferretti states that southern architecture is more unknown, those that exercise in the Yucatan,the Gulf and in connection with the Pacific Ocean.Southern Mexico is something absolutely separate."It is crossed or invaded by all these architects who are already renowned - probably in central Mexico -but also mixed in some way with local architects who do not have such significance. We know that it is an absolutely marginalised region in everything, we only go to the south of Mexico for vacations or when a tragedy happens and we realise that there is much to say, but there is a lag of terrible production and the abysmal difference between the north and the south, not even say. There are architects who have been working as Mauricio Rocha and Productora who are offices of Chilangos who have gone to work to the south with a different consciousness, have produced buildings and have won competitions."

Ferretti argues that these Chilangos architects in the South do not replicate their models. "What they design has nothing to do with what they would do in their own performance environments. Here are works that have a lot to do with public space," he says.

The public space would prove to be fundamental for the architecture of southern Mexico due to its humid and hot tropical climate. "It is a microscale architecture, the architecture that never transcends these areas of discussion, but that arise when there is a tragedy," Ferretti recalls, due to media attention by the Chiapas earthquakes in 2017 (magnitude 8.2)and Oaxaca in 2018 (magnitude 7.2). In Oaxaca,it recognises proposals from the typology: small interventions in the public space.

"It is not that they are architects who are making small devices to make them incorporated in public space, but that their works are born from public space and urban space. The tropical climate causes them to be born from the outside and they close in themselves to create the interior spaces. Productora has a contest won there in Oaxaca which is also an art centre, all very brown, very earthy. They open the building and recognise it as a place of passage, and then rebuild the building from the inside with the programmatic needs. And there are other local studies such as Rootstudio de Oaxaca that work with bamboo,something more similar to what they do Costarrican office Entre Nos, who work with the repetition of a series of elements designed from bamboo and that are hooked and generated a greater complexity. They do very open elements, with a lot of gallery, a lot of sun protection, although all this sounds obvious. It seems that the process forces them to go backwards,because we have used these things in the academy,probably in Argentina and Chile, but the imprint of this issue of open space, of the tropical question,must be there. We have researched and you have to be there to understand it," he says.

“如果說(shuō)墨西哥有什么迷人和神奇的地方，那就是這些從私立學(xué)校畢業(yè)的建筑師完全沒(méi)有停留在上層需求的實(shí)踐中，而是有很多人知道如何去接觸其他社會(huì)階層，因?yàn)樵缤硭麄兌紩?huì)觸及這些階層。這是墨西哥建筑最引人矚目、也最具特色的一面：盡管它們看似分隔清晰，卻并非如此。事實(shí)上，每個(gè)人都清楚社會(huì)存在的點(diǎn)位、融合的地方，以及為了進(jìn)步每個(gè)人必須發(fā)揮的作用。在我看來(lái)，各個(gè)層次都在開(kāi)始發(fā)揮這個(gè)作用?！辟M(fèi)雷蒂說(shuō)。

“我認(rèn)為Productora 事務(wù)所關(guān)注的是現(xiàn)代運(yùn)動(dòng)時(shí)期建筑語(yǔ)言的問(wèn)題，是在嘗試恢復(fù)那種通透的語(yǔ)言，有深深的陰影、由某些抽象元素形成韻律并在立面上重復(fù)使用，構(gòu)成庭院的主題。”

南部

費(fèi)雷蒂認(rèn)為南部建筑更不為人知，即那些在尤卡坦、墨西哥灣以及與太平洋相關(guān)的實(shí)踐。墨西哥南部是完全分離的?！安粌H所有（很可能是在墨西哥中部）功成名就的建筑師會(huì)闖到這里，而且并不出名的當(dāng)?shù)亟ㄖ熞矔?huì)以某些方式與之融合。我們知道它在方方面面都是絕對(duì)邊緣化的地區(qū)，人們只會(huì)去墨西哥南部度假，或是在悲劇發(fā)生時(shí)才意識(shí)到要說(shuō)的很多。但南北建筑創(chuàng)作存在著可怕的滯后和極大的差距，是難以言表的。有些‘基蘭戈’事務(wù)所一直在像毛里西奧·羅查和Productora 事務(wù)所那樣創(chuàng)作，他們帶著不同的觀念去南方創(chuàng)作建筑，并在競(jìng)賽中摘得桂冠?！?/p>

費(fèi)雷蒂認(rèn)為這些在南部的“基蘭戈”建筑師不會(huì)去重復(fù)前作。“他們的設(shè)計(jì)與原先的創(chuàng)作環(huán)境截然不同。這里的作品更多涉及的是公共空間?！彼f(shuō)。

這種公共空間會(huì)被證明對(duì)于墨西哥南部建筑是至關(guān)重要的，因?yàn)槟鞘菨駶?rùn)炎熱的熱帶氣候。“那是一種微尺度建筑，這種建筑從不會(huì)超出討論的這些范圍，卻會(huì)在發(fā)生悲劇時(shí)出現(xiàn)?！辟M(fèi)雷蒂回憶道。2017 年和2018 年，恰帕斯（震級(jí)8.2）和瓦哈卡（震級(jí)7.2）先后發(fā)生地震，引起了媒體關(guān)注。在瓦哈卡，一種類(lèi)型的提議得到了認(rèn)可：公共空間中的小型干預(yù)。

“這些建筑師并不是先創(chuàng)作小品，然后整合到公共空間中去，而是他們的作品是從公共空間、城市空間中產(chǎn)生的。是熱帶氣候讓它們從室外生成，再?lài)掀饋?lái)形成內(nèi)部空間。Productora 事務(wù)所在瓦哈卡贏得了一次競(jìng)賽。那是一個(gè)藝術(shù)中心，通體褐色，有土實(shí)感。他們將建筑打開(kāi)，并把它作為一種穿行的場(chǎng)所，然后根據(jù)策劃的需求從內(nèi)部重構(gòu)建筑。此外，還有像瓦哈卡的RootStudio 這樣的本土事務(wù)所，他們?cè)谘芯恐褡?。與此更接近的是哥斯達(dá)黎加的事務(wù)所Entre Nos，他們反復(fù)使用一系列由竹子設(shè)計(jì)出來(lái)的元素，并通過(guò)鉤連形成更強(qiáng)的復(fù)雜性。他們會(huì)用非常開(kāi)敞的元素、大量的通廊和遮陽(yáng)設(shè)施，盡管這一切聽(tīng)起來(lái)都是顯而易見(jiàn)的?？瓷先ミ@個(gè)過(guò)程在使他們向后退，因?yàn)檫@些東西在學(xué)校中是用過(guò)的，很可能是在阿根廷和智利，而開(kāi)敞空間和熱帶的問(wèn)題想必留下了印象。我們已經(jīng)做了研究，你只有到了那才會(huì)理解，”他說(shuō)。

“年輕的Arqmosfera 事務(wù)所在恰帕斯的作品有很多通廊和過(guò)渡空間。如果說(shuō)這些探索有什么特點(diǎn)，比如由?？送袪枴しɡ桌鞒值脑O(shè)計(jì)事務(wù)所，就是他們不會(huì)夸耀造型，沒(méi)有形態(tài)上的野心，而是一種志在必得的清晰抱負(fù)，找不到答案決不罷休。他們幾乎無(wú)時(shí)不刻都在努力，去看外部空間是達(dá)到了目標(biāo)，并以各種必要過(guò)渡的經(jīng)驗(yàn)，實(shí)現(xiàn)圍護(hù)最好的內(nèi)部空間。背景或第三平面中總會(huì)有玻璃，不強(qiáng)調(diào)正面性，而總是讓厚重的陰影投在玻璃前方。這里不僅有格柵，還有藤架，因?yàn)檫@里的陽(yáng)光是從上方射來(lái)的?！?/p>

“無(wú)疑還會(huì)有其他更不為人知的建筑師來(lái)創(chuàng)作建筑，或許這是為什么我們沒(méi)有談到他們?！辟M(fèi)雷蒂表示。

結(jié)語(yǔ)

雖然墨西哥擁有豐富的自然、歷史、民族和生態(tài)系統(tǒng)資源，關(guān)于當(dāng)代墨西哥多元建筑的敘述將不會(huì)在當(dāng)今形勢(shì)中占有一席之地。這個(gè)被概括為三大宏觀地區(qū)的形勢(shì)仍將重心牢牢地放在中部，特別是墨西哥城。

按照費(fèi)雷蒂的觀點(diǎn)，墨西哥城的經(jīng)濟(jì)、政治和文化集中將帶來(lái)比全國(guó)其他地方更密集的建筑趨勢(shì)。這種趨勢(shì)將不會(huì)有別于拉美的其他地方。在拉美，首都不僅是政治城市，也是經(jīng)濟(jì)和文化城市。這種集中無(wú)疑會(huì)比其他城市更能吸引移民、經(jīng)濟(jì)投資，以及由此帶來(lái)的建筑人才。事實(shí)上，拉美最大的10 座城市中大多是首都，并貢獻(xiàn)了30%的GDP[14]。

對(duì)于墨西哥，正如費(fèi)雷蒂所說(shuō)，“基蘭戈”建筑已成為墨西哥建筑的代名詞。而在其他國(guó)家也可以看到這種現(xiàn)象，比如智利的當(dāng)代建筑近年來(lái)也贏得了國(guó)際上的關(guān)注和認(rèn)可6）[15-17]。在2016 年榮獲普利茲克獎(jiǎng)的亞歷杭德羅·阿拉韋納[18]以及斯米連·拉迪克、塞瓦斯蒂安·伊拉拉薩瓦爾和切奇莉婭·普加等最著名的建筑師[19]總部都在智利首都圣地亞哥。圣地亞哥的狀況與墨西哥城大相徑庭，它有全國(guó)40.47%的人口和2%的土地7）[20]，并在2017年貢獻(xiàn)了45.1%的GDP[21]。

盡管探討墨西哥多元建筑尚不現(xiàn)實(shí)，墨西哥已展示出多元的豐富資源，使人們能提出不同的建構(gòu)對(duì)策。從積極的一面看，像加芙列拉·卡里略和毛里西奧·羅查這樣的“基蘭戈”建筑師，無(wú)論她們的事務(wù)所在哪里，都能針對(duì)墨西哥從格蘭德河到恰帕斯山脈的不同文化、氣候和城市文脈提出不同的對(duì)策?！?/p>

注釋/Notes

1）官方題名為：傳統(tǒng)墨西哥美食——傳承的、持續(xù)的社區(qū)文化、米卻肯范式/Official inscription name: Traditional Mexican cuisine - ancestral, ongoing community culture, the Michoacán paradigm

2）磅/Ib.

3）馬里亞諾·費(fèi)雷蒂（1973年生于阿根廷圣羅莎），加泰羅尼亞理工大學(xué)（西班牙巴塞羅那）建筑學(xué)、批評(píng)學(xué)和項(xiàng)目學(xué)碩士，瓜納華托大學(xué)（墨西哥瓜納華）建筑學(xué)博士（PIDA）。/Mariano Ferretti (Santa Rosa, Argentina. 1973). Master in Architecture. Criticism and Project by the Universitat Politècnica de Catalunya (Barcelona, Spain) and Doctor in Architecture by the Interinstitutional Program of Doctorate in Architecture (PIDA) of the University of Guanajuato (Guanajuato, Mexico).

4）該對(duì)話是于2019年10-11月以WhatsApp語(yǔ)音通話的形式進(jìn)行的。/This conversation was held through audio calls on Whatsapp between October and November, 2019

5）迪亞茲·波菲里奧引言的英文翻譯是美國(guó)前總統(tǒng)吉米·卡特與已故墨西哥總統(tǒng)何塞·洛佩斯·波蒂略1977年在華盛頓會(huì)面時(shí)所復(fù)述的。該會(huì)議錄的作者是外交部理查德·R·費(fèi)根，題為《美國(guó)和墨西哥關(guān)系的現(xiàn)實(shí)》，于1977年7月發(fā)表，見(jiàn)參考文獻(xiàn)[10]。/This English translation of Porfirio Diaz quote is the one recited by former US President Jimmy Carter on the occasion of the late Mexican President José López Portillo's visit to Washington in 1977. This meeting is recalled by Foreign Affairs' Richard R. Fagen in the article "The Realities of U.S.-Mexican Relations",published in the July 1977 edition. See Reference [10].

6）位于紐約的建筑中心于2016年舉辦了名為“EXTRA-ORDINARY：智利建筑的新實(shí)踐”的展覽，同年，亞力杭德羅·阿拉維納獲得了普利茲克建筑獎(jiǎng)。過(guò)去10年間，智利建筑業(yè)的全球化是由智利外交部的ProChile項(xiàng)目來(lái)促成的 。見(jiàn)參考文獻(xiàn)[17]。/New York-based Center for Architecture hosted an exhibition titled "EXTRA-ORDINARY: New Practices in Chilean Architecture" in 2016, the same year Aravena won the Pritzker Prize, while in the last decade the internationalization of Chilean architecture industry has been prompted by the Ministry of Foreign Affairs's ProChile. See Reference [17].

7）基于2017年的普查數(shù)據(jù)，見(jiàn)參考文獻(xiàn)[20]。/Based in 2017 Census. See Reference [20].

"The work of the young Arqmosfera office in Chiapas has galleries and space filters, perhaps if something characterises these studies, such as the Design Office, directed by Héctor Farrera, is that they do not have so much flaunting of shape, so much morphological ambition, but a clearly defined ambition that has to give an answer, as if they would not forgive it if they did not. Almost they must fight all the time to see if they achieve this issue with outer space, with the experience of the different filters that are necessary to have and then reach the most protected interior. The glass is always in the background or third plane, there is not much frontality, but rather there is a thickness of shadow that is always interposing before the glass.More than lattice, here is pergola, because here the sun comes from above."

"Surely there will be others who make another arch and are more unknown, and perhaps that is why we are not talking about them," Ferretti acknowledges.

Conclusion

Regardless of the cultural, historical, ethnic and ecosystemic wealth that Mexico possesses,a potential narrative of Mexican contemporary architectures would not find a place today in a scenario that, simplified in three macro regions, still has strongly its centre of gravity in the centre, and par excellence, Mexico City.

According to Ferretti's point of view, the economic, political and cultural concentration in Mexico City would stimulate a denser architectural scene than in the rest of the country. This scenario would not differ from the rest of most of Latin America, where capital cities are not only political cities, but economic and cultural cities. This concentration surely attracts demographic migration,economic investment, and therefore, architectural talent better than the rest of the cities. In fact, most of the 10 largest cities of Latin America are capital cities and contributes to 30 percent of GDP[14].

In the case of Mexico, as Ferretti proposes,the Chilango architecture has become synonym of Mexican architecture. A correlation may be found in, for example, Chile, another country which contemporary architecture has gained international attention and recognition in recent years6)[15-17].Alejandro Aravena, who has won the Pritzker Prize in 2016[18], among most renowned architects, such as Smiljan Radic, Sebastian Irarrazaval and Cecilia Puga, to name just a few[19], are based in Santiago,Chile's capital city. Featuring an extremely scenario in comparison to Mexico City, Santiago accounts for around 40.47% of the total population of the country and covers around 2.0 percent of the territory7)[20],contributing around 45.1% to the GDP in 2017[21].

Despite there is not feasible to talk about Mexican architectures yet, Mexico displays a multidimensional wealth that would make possible different architectonic responses. On the bright side,Chilangos architects such as Gabriela Carrillo and Mauricio Rocha have been able to develop different responses to the different cultural, climatic, and urban contexts that Mexico offers from Rio Grande to the Chiapas mountain range, regardless of where their practices and offices are based.□

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