墨西哥多元建筑？与马里亚诺·费雷蒂在海外畅想

尼古拉斯·巴伦西亚/Nicolas Valencia

尚晋 译/Translated by SHANG Jin

1 墨西哥地域生态区域/Mexico Territorial Ecoregions（图片来源/Adapted design from © INEGI, CONABIO, INE, under license CC BY-NC-SA 2.0.）

2 墨西哥生物多样性宏观区域/Mexico Biodiversity Macroregions（图片来源/Adapted design from © Slow Food）

3 墨西哥受到联合国教科文组织认可的世界遗产数量全球排名第七，其27个文化城市中有9个是历史中心，比如瓜纳华托，还有城市，比如圣米格尔德阿连德，该图是从墨西哥中部的佩皮拉纪念碑鸟瞰瓜纳华托历史中心。/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. （摄影/Photo: © Nicolas Valencia）

4 位于墨西哥中部圣米格尔德阿连德的圣米格尔阿坎格尔教区教堂/La Parroquia de San Miguel Arcángel in San Miguel de Allende, Central Mexico（摄影/Photo: © Nicolas Valencia）

每个人都自以为对墨西哥了如指掌，或者至少对这个国家略知一二——即便是错误的认识。

这不足为奇，因为这种认识主要来自旅游、饮食和媒体宣传。首先：墨西哥是世界第七大旅游目的地，2018 年共迎来4100 万游客[1]。这一定程度上是由于它“非凡的自然和文化资源，并有效地结合了强大的价格竞争力”[2]。其次，墨西哥美食举世闻名——却被错误地解读，而且常常被简单化。2010 年，它被列入UNESCO《人类非物质文化遗产代表作名录》1）。再次，美国媒体和娱乐业关于墨西哥形象的宣传是面向全球的。所有这些塑造出来的全球性印象与墨西哥真正的文化、社会、经济和语言多样性和密集程度相去甚远。像旅行作家及小说家保罗·泰鲁在《野兽日报》最近的一次采访中所说的那样，墨西哥并不是“炸玉米饼、宽沿帽和流浪乐队”[3]。

墨西哥有1.3 亿人居住在近200 万km2[4]的土地上，并以太平洋、格兰德河、墨西哥湾和恰帕斯山脉为界。首都位于特斯科科湖干燥的顶部，1500km2的面积上住有2200 万人2）。

“墨西哥是一个大洲，而墨西哥城自成一国”[5]。从西班牙帝国独立以后，墨西哥建立了第一个自治区划（1821-1823），范围从今天美国俄勒冈和爱达荷州的南部行政边界到今天中美洲的哥斯达黎加[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 Cañas[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 Peña,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 从Silla山上鸟瞰蒙特雷/ A view of Monterrey, Mexico, from The Cerro de la Silla（摄影/Photo: © Guillermo Otero, under license CC BY-SA 2.0. ）

我们知道行政边界与科学无关，而无疑是政治的产物；它是用双手，通过战争、宣言、谈判以及关于我们民族特征和身份的国家形象建立起来的。认识今天墨西哥的第一个渠道是通过它的生态系统，它包含了12%的生物多样性和7%的地球生态区[8]。因此，在这里必须要提到大平原、北美沙漠、地中海气候的加利福尼亚州、南部半干旱的高地、气候温和的山区，以及干旱和湿润的热带雨林。

墨西哥还是一个多文化的国家：罗兰多·卡尼亚斯[9]辨别出65 个民族群体。根据选择的分类标准不同，土著语言可分为59～287 种。这里还要考虑到西班牙帝国的殖民过程，以及20-21 世纪近期移民的后果。

在了解西班牙、中国和意大利等国家的历史之后，就会认为墨西哥的文化密集程度可以让我们讨论墨西哥多元建筑。因此它不是单一的。

为了通过对比突出这个观点，我要谈谈与阿根廷建筑师马里亚诺·费雷蒂（1973 年）3-4）的对话。他从2010-2018 年在4 个墨西哥城市授课——莱昂、瓜达拉哈拉、蒙特雷和克雷塔罗。我的想法是以对比突出本文关于墨西哥多元建筑的假设。

“虽然我们知道墨西哥不是一个小国，但它也并非幅员辽阔。边境不多，密度却很高。” 费雷蒂说。墨西哥主要同美国接壤。关于两国的这种历史状况，已故的墨西哥总统波尔菲里奥·迪亚斯有句脍炙人口的名言：“可怜的墨西哥，上帝在天边，眼前是美国。”5）[10]

“在墨西哥建筑上可以看到惊人的密度，原因在于墨西哥是由许多文化特色鲜明的区域组成的。” 费雷蒂表示。但这种观点体现在建筑上了吗？

“作为一个绝对多元化的国家，共生的多元文化在这里尝试建立并存的边界，但墨西哥过于集中化，一切都要从两三条渠道经过。”这位阿根廷建筑师说。面对从地理上划分这个国家建筑作品的挑战，费雷蒂提出了三大宏观地理区。

北部

今天，蒙特雷是墨西哥人口最多的三大城市之一[11]，也是国家制造业的中心[12]。房地产市场与这一经济发展状况是相符的。“这是一场真正的地区性爆发。” 费雷蒂描绘着以房地产开发项目为主的建筑发展状况。

6 鸟瞰Reforma大道上诸多摩天大楼，除了可见去往Chapultepec公园的通道，也展示了墨西哥城的金融力量和经济发展/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. （摄影/Photo: © Jos Macouzet | Shutterstock）

“北部设计建成的建筑以蒙特雷当地建筑师为主，” 费雷蒂说。他从2017 年到2018 年就住在北部城市。“我十分赞赏‘雷希奥’建筑师的当地特色，”这位阿根廷建筑师用了称呼蒙特雷居民的墨西哥俚语，“以及一直在考验他们的世界性观念和与墨西哥城建筑师的某种竞争。”他补充道，并特别提到了罗德里戈·德拉培尼亚、兰达+马丁内斯事务所、贝尔纳多·伊诺霍萨、丹尼尔事务所和在瓜达卢佩的建筑师亚历山大·勒努瓦。

“墨西哥北部有一种建筑一直在两种身份之间挣扎：作为墨西哥建筑，还是加入最具世界性的俱乐部，并与美国南部保持特殊的联系。” 费雷蒂说道，并承认北部的建筑学校与代表墨西哥城建筑的重心之间存在着矛盾关系。“这些‘基兰戈’建筑师——墨西哥城市民的俚语——在合众国四处游访，并受到各个学校的追捧。一方面，他们抱怨不停，另一方面又总是求助于首都的中心地位。” 费雷蒂说。

费雷蒂试图用寥寥数语概括出当代皇家建筑的形象：玻璃、金属、“许多上相的拍摄角度，大量销售铺垫”，主要关注高标准高层住宅的设计和施工。“这不是指社会保障住房，” 费雷蒂说，“因为国家没有社会保障住房，而且也没有兴趣这样做。这显而易见，无需多言。对于任何人都是一目了然的。”他补充道。

中部，墨西哥城

在描述墨西哥的中部地区时，就要用墨西哥城来分析。这座特大城市虽然有全国18%的人口和0.3%的土地，却贡献了25%的GDP[13]。原因在于它集中了大部分经济、文化和政治权力。因此，在国外“基兰戈”建筑就可以理解为墨西哥特色建筑。

“这些来自全国中心的建筑师在作品、资本和材料资源方面有着天壤之别，” 费雷蒂表示。然而，“有一代建筑师无法在首都进行创作，而一直在四处游走或寻找工作，因为他们也是名声在外的建筑师，并由核心来宣传，即最重要的印刷杂志。他们这些人最后总会在各种大会上现身，并在整个地区创作建筑。”

7 瓦哈卡鸟瞰/An aerial view of Oaxaca, Mexico（摄影/Photo: © Leonardo Emiliozzi | Shutterstock）

这位阿根廷建筑师在“基兰戈”建筑上看到了墨西哥当代作品中的精华。其中有的集成了1940-1950 年代墨西哥现代主义的厚重遗存。“格栅和庭院的运用，以及将阳光作为创作材料的手法，赋予了其‘热带特色’。它代表了特奥多罗·冈萨雷斯和亚伯拉罕·扎布卢多斯基的巅峰时代。” 在费雷蒂眼中，有一代人“几乎是被迫继承这种建筑的”。与此同时，由米歇尔·罗伊金德带领的先锋团队最近提出了新的施工方法和对形式化设计方法的新应用。不过，费雷蒂说：“很多人最后都投向了对墨西哥光荣历史的再阐释。”

费雷蒂重点提到了MMX，一个由豪尔赫·阿尔维祖、伊格纳西奥·德尔里奥、埃曼努埃尔·拉米雷斯和迭戈·里卡尔德创立的事务所（“我对他们作品的质量赞叹不已”），随后停下来展示当代墨西哥建筑的一个现象。“如果说墨西哥现在有什么特色，那就是我眼中从各个方面给墨西哥男权主义带来冲击的女权主义运动。这种转变在建筑上有很多表现。”他说。

费雷蒂的印象在“基兰戈”建筑的一系列女性领袖身上得到了证实：弗里达·埃斯科韦多（“守在记忆的一边、对材料的运用、通过试验将平凡的元素提升到更高的范畴”）；塔蒂亚娜·毕尔巴鄂，以她作品的格栅、立面、通透性为亮点；罗萨娜·蒙铁尔，在研究领域颇受认可（“以小品和设施、对公共空间的干预为焦点”）；加芙列拉·埃切加雷+豪尔赫·安布罗西（安布罗西-埃切加雷事务所）和葆拉·莫拉莱斯+费尔南多·贝拉斯科（AS/D 设计联盟）。

费雷蒂表示这一代人并没有去恢复遗存，而是“在回忆。那是流淌在她们血液中的东西。”特别提到的是加芙列拉·卡里略和毛里西奥·罗查，她们一直在墨西哥各地创作，并成功地通过某些项目实现了转型，比如瓦哈卡艺术学校，是“近年来墨西哥建筑最美的作品之一”。

这些墨西哥建筑师的母校在这种叙事中有重要的关系——这在拉美各地也能看到。公立和私立学校在风格定义方法上的差别体现在智利（智利大学和智利天主教大学）和哥伦比亚（国立大学和安第斯大学）的话语中，这里只是几个更突出的例子。费雷蒂给墨西哥城的建筑师作了更具体的描述：他们要么在公立、免费的墨西哥国立自治大学（UNAM）接受教育，要么去几所著名的私立学校，比如拉美大学的圣菲校区或阿纳瓦克大学。

8 瓦哈卡的殖民时期立面/Colonial façades in Oaxaca, Mexico （摄影/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 façade, 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.

“如果说墨西哥有什么迷人和神奇的地方，那就是这些从私立学校毕业的建筑师完全没有停留在上层需求的实践中，而是有很多人知道如何去接触其他社会阶层，因为早晚他们都会触及这些阶层。这是墨西哥建筑最引人瞩目、也最具特色的一面：尽管它们看似分隔清晰，却并非如此。事实上，每个人都清楚社会存在的点位、融合的地方，以及为了进步每个人必须发挥的作用。在我看来，各个层次都在开始发挥这个作用。”费雷蒂说。

“我认为Productora 事务所关注的是现代运动时期建筑语言的问题，是在尝试恢复那种通透的语言，有深深的阴影、由某些抽象元素形成韵律并在立面上重复使用，构成庭院的主题。”

南部

费雷蒂认为南部建筑更不为人知，即那些在尤卡坦、墨西哥湾以及与太平洋相关的实践。墨西哥南部是完全分离的。“不仅所有（很可能是在墨西哥中部）功成名就的建筑师会闯到这里，而且并不出名的当地建筑师也会以某些方式与之融合。我们知道它在方方面面都是绝对边缘化的地区，人们只会去墨西哥南部度假，或是在悲剧发生时才意识到要说的很多。但南北建筑创作存在着可怕的滞后和极大的差距，是难以言表的。有些‘基兰戈’事务所一直在像毛里西奥·罗查和Productora 事务所那样创作，他们带着不同的观念去南方创作建筑，并在竞赛中摘得桂冠。”

费雷蒂认为这些在南部的“基兰戈”建筑师不会去重复前作。“他们的设计与原先的创作环境截然不同。这里的作品更多涉及的是公共空间。”他说。

这种公共空间会被证明对于墨西哥南部建筑是至关重要的，因为那是湿润炎热的热带气候。“那是一种微尺度建筑，这种建筑从不会超出讨论的这些范围，却会在发生悲剧时出现。”费雷蒂回忆道。2017 年和2018 年，恰帕斯（震级8.2）和瓦哈卡（震级7.2）先后发生地震，引起了媒体关注。在瓦哈卡，一种类型的提议得到了认可：公共空间中的小型干预。

“这些建筑师并不是先创作小品，然后整合到公共空间中去，而是他们的作品是从公共空间、城市空间中产生的。是热带气候让它们从室外生成，再围合起来形成内部空间。Productora 事务所在瓦哈卡赢得了一次竞赛。那是一个艺术中心，通体褐色，有土实感。他们将建筑打开，并把它作为一种穿行的场所，然后根据策划的需求从内部重构建筑。此外，还有像瓦哈卡的RootStudio 这样的本土事务所，他们在研究竹子。与此更接近的是哥斯达黎加的事务所Entre Nos，他们反复使用一系列由竹子设计出来的元素，并通过钩连形成更强的复杂性。他们会用非常开敞的元素、大量的通廊和遮阳设施，尽管这一切听起来都是显而易见的。看上去这个过程在使他们向后退，因为这些东西在学校中是用过的，很可能是在阿根廷和智利，而开敞空间和热带的问题想必留下了印象。我们已经做了研究，你只有到了那才会理解，”他说。

“年轻的Arqmosfera 事务所在恰帕斯的作品有很多通廊和过渡空间。如果说这些探索有什么特点，比如由埃克托尔·法雷拉主持的设计事务所，就是他们不会夸耀造型，没有形态上的野心，而是一种志在必得的清晰抱负，找不到答案决不罢休。他们几乎无时不刻都在努力，去看外部空间是达到了目标，并以各种必要过渡的经验，实现围护最好的内部空间。背景或第三平面中总会有玻璃，不强调正面性，而总是让厚重的阴影投在玻璃前方。这里不仅有格栅，还有藤架，因为这里的阳光是从上方射来的。”

“无疑还会有其他更不为人知的建筑师来创作建筑，或许这是为什么我们没有谈到他们。”费雷蒂表示。

结语

虽然墨西哥拥有丰富的自然、历史、民族和生态系统资源，关于当代墨西哥多元建筑的叙述将不会在当今形势中占有一席之地。这个被概括为三大宏观地区的形势仍将重心牢牢地放在中部，特别是墨西哥城。

按照费雷蒂的观点，墨西哥城的经济、政治和文化集中将带来比全国其他地方更密集的建筑趋势。这种趋势将不会有别于拉美的其他地方。在拉美，首都不仅是政治城市，也是经济和文化城市。这种集中无疑会比其他城市更能吸引移民、经济投资，以及由此带来的建筑人才。事实上，拉美最大的10 座城市中大多是首都，并贡献了30%的GDP[14]。

对于墨西哥，正如费雷蒂所说，“基兰戈”建筑已成为墨西哥建筑的代名词。而在其他国家也可以看到这种现象，比如智利的当代建筑近年来也赢得了国际上的关注和认可6）[15-17]。在2016 年荣获普利兹克奖的亚历杭德罗·阿拉韦纳[18]以及斯米连·拉迪克、塞瓦斯蒂安·伊拉拉萨瓦尔和切奇莉娅·普加等最著名的建筑师[19]总部都在智利首都圣地亚哥。圣地亚哥的状况与墨西哥城大相径庭，它有全国40.47%的人口和2%的土地7）[20]，并在2017年贡献了45.1%的GDP[21]。

尽管探讨墨西哥多元建筑尚不现实，墨西哥已展示出多元的丰富资源，使人们能提出不同的建构对策。从积极的一面看，像加芙列拉·卡里略和毛里西奥·罗查这样的“基兰戈”建筑师，无论她们的事务所在哪里，都能针对墨西哥从格兰德河到恰帕斯山脉的不同文化、气候和城市文脉提出不同的对策。□

注释/Notes

1）官方题名为：传统墨西哥美食——传承的、持续的社区文化、米却肯范式/Official inscription name: Traditional Mexican cuisine - ancestral, ongoing community culture, the Michoacán paradigm

2）磅/Ib.

3）马里亚诺·费雷蒂（1973年生于阿根廷圣罗莎），加泰罗尼亚理工大学（西班牙巴塞罗那）建筑学、批评学和项目学硕士，瓜纳华托大学（墨西哥瓜纳华）建筑学博士（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）该对话是于2019年10-11月以WhatsApp语音通话的形式进行的。/This conversation was held through audio calls on Whatsapp between October and November, 2019

5）迪亚兹·波菲里奥引言的英文翻译是美国前总统吉米·卡特与已故墨西哥总统何塞·洛佩斯·波蒂略1977年在华盛顿会面时所复述的。该会议录的作者是外交部理查德·R·费根，题为《美国和墨西哥关系的现实》，于1977年7月发表，见参考文献[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）位于纽约的建筑中心于2016年举办了名为“EXTRA-ORDINARY：智利建筑的新实践”的展览，同年，亚力杭德罗·阿拉维纳获得了普利兹克建筑奖。过去10年间，智利建筑业的全球化是由智利外交部的ProChile项目来促成的 。见参考文献[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年的普查数据，见参考文献[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.□

参考文献/References

[1] World Tourism Organization. International Tourism Highlights, 2019 Edition [M/OL]. Madrid: UNWTO,2019. DOI: https://doi.org/10.18111/9789284421152

[2] Uppink L, Soshkin M. The Travel & Tourism Competitiveness Report 2019 [R/OL]. Geneva: World Economic Forum's Platform for Shaping the Future of Mobility, 2019. http://www3.weforum.org/docs/WEF_TTCR_2019.pdf

[3] Beale L. Paul Theroux Wants You to Know That You Don't Know Mexico [N/OL]. The Daily Beast, 2019. [ 2019-10-31]. https://www.thedailybeast.com/paul-therouxwants-you-to-know-that-you-dont-know-mexico

[4] The World Bank. World Development Indicators(WDI) [DB/OL]. http://datatopics.worldbank.org/

[5] Valencia N. ¿Existe el marketing en arquitectura?[EB/OL].(2019) [2019-10-29]. https://nicolasvalencia.cl/post/187245807118/fanzine-existeel-marketing-en-arquitectura

[6] Ter razas M, B asanate M. L as fronteras s e ptentr ion ales de México ante el avance norteamericano, 1700-1846. Península, 2008, 3(2): 149-162 [2019-10-28]. http://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S1870-57662008000200008&lng=es&tlng=es.

[7] Oralia L. Las fronteras de México: apuntes de su demarcación científica y técnica en el siglo xix.Cuadernos de Geografía: Revista Colombiana de Geografía, 2013, 23 (2): 139-157 [2019-10-28]. http://www.scielo.org.co/pdf/rcdg/v23n2/v23n2a10.pdf

[8] Vera P, Malda G, Mattia D. (ed) [M]. El arca del gusto en México: productos, saberes e historias del patrimonio gastronómico. México: Slow Food, 2018.

[9] Cañas R, Ortiz-Monasterio A, Huerta E & Zolueta X[M]. Marco legal para el conocimiento tradicional sobre la biodiversidad, en Capital natural de México,vol. 1: Conocimiento actual de la biodiversidad.Mexico: Conabio, 2008: 557-564.

[10] Richard R. Fagen. The Realities of U.S.-Mexican Relations [C/OL]. (1977-07-01) Foreign Affairs,1977. https://www.foreignaffairs.com/articles/mexico/1977-07-01/realities-us-mexican-relations

[11] García A. CDMX supera en calidad de vida a Monterrey y Guadalajara, pero es la más desigual[EB/OL]. (2019-07-03). https://www.eleconomista.com.mx/politica/CDMX-supera-en-calidad-devida-a-Monterrey-y-Guadalajara-pero-es-la-masdesigual-20190703-0069.html

[12] Espinoza A. Monterrey supera en parques industriales en construcción a la Ciudad de México[EB/OL].(2019-10-23). https://expansion.mx/empresas/2019/10/23/monterrey-supera-en-parquesindustriales-en-construccion-a-la-ciudad-de-mexico

[13] The World Bank. Roads and the Geography of Economic Activities in Mexico[R/OL]. Washington D.C.:2017. https://www.tse-fr.eu/sites/default/files/TSE/documents/sem2017/dlpp/bougna.pdf

[14] Cadena A, Remes J, Restrepo A. Fulfilling the promise of Latin America's cities[EB/OL]. McKinsey &Company, 2011 [2019-11-08] https://www.mckinsey.com/featured-insights/urbanization/fulfilling-thepromise-of-latin-americas-cities

[15] Miranda C. Rough, yet poetic: Chilean architecture has its moment [N/OL]. Los Anfeles Times, 2015. [2019-11-08]. https://www.latimes.com/entertainment/arts/miranda/la-et-cam-chileanarchitecture-goes-international-20150515-column.html

[16] Snyder M. In Chile, Homes as Extreme as the Landscape Itself [J/OL]. The New York Times Style Magazine, 2019. [2019-11-08]. https://www.nytimes.com/2019/03/19/t-magazine/chile-architecture.html

[17] García, C., López D., Muñoz, F. Public-private partnerships for internationalization of services: the case of Chilean architecture industry [D/OL]. Estud.int. (Santiago, en línea). 2017, 49 (188).

[18] Franco J T. Alejandro Aravena Wins 2016 Pritzker Prize [N/OL]. ArchDaily, 2016 [2019-11-08]. https://www.archdaily.com/780203/alejandro-aravena-wins-2016-pritzker-prize

[19] Revista Capital. La generación dorada de la arquitectura chilena[N/OL]. Revista Capital, 2015.[2019-11-08]. https://www.capital.cl/la-generaciondorada-de-la-arquitectura-chilena/

[20] Biblioteca del Congreso Nacional de Chile. Región Metropolitana de Santiago[EB/OL]. Biblioteca del Congreso Nacional de Chile, 2019 [2019-11-09].https://www.bcn.cl/siit/nuestropais/region13

[21] Observatorio Logístico. PIB Regional de Chile.Producto Interno Bruto (PIB) por actividad económica,2013-2017[DB/OL]. (2019) [2019-11-09]. https://datos.observatoriologistico.cl/dataviews/236358/pib-regional-/