与纽约、伊斯坦布尔、罗马和首尔一样，Yap Condroto(智利)是由MoMA和MoMA PS1实施的“青年建筑师方案”的五个版本之一，该方案旨在“支持创新设计研究和促进新兴人才”。

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.”

休息后了解更多关于提案的信息。

Learn more about the proposal after the break. 

 Courtesy of Guillermo Hevia García + Nicolás Urzúa

Guillermo Hevia García Nicolás Urzúa提供

编辑注意：文字括号中的数字可以在附图中引用艺术灵感。

Note from the Editor: The numbers in parentheses in the text reference artistic inspiration that can be in the attached images.

建筑师们的描述：我们不确定“你的倒影”是一种体验、一种幻象、一种景观、一处地方、一个物体、一种超现实主义建筑的尝试、一种艺术方法，还是其中几种的混合。这个不稳定或不确定的位置，面对一些难以确定的事情，但它能够询问访问者，并回到对“项目”有意义的东西上，引诱我们。(1)

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)

“不确定性是一种令人不安的立场，但确定性是一种荒谬的立场。”-伏尔泰

"Uncertainty is an uncomfortable position. But certainty is an absurd position." - Voltaire

我们的本意是建立一种不确定的经验，一种我们无意控制的不确定的情况，因为当我们穿过它时，凹凸反射钢二维平面引起的反射和变形的可能性是无限的。(2)

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)

我们希望来访者能预料到下一个地方会发生什么令他们吃惊的事情。

We want the visitor to be expectant of what is going to surprise them in the next place.

该项目的出发点是“反射”这个词的两个定义，一方面是物理意义上的字面光学反射(变形和倍增)[A]，另一个是心理[B]意义上的反映，即在项目中看到自己的反映/变形，而这种二元性产生了一定的反省状态。(3)

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

Guillermo Hevia García Nicolás Urzúa提供

我们给出的建议的名称正好暗示了这一双重条件：“你的反思”，个人代词“You(R)”指的是以访问者在其中的方式存在的项目，并且该项目能够在该访问者身上产生某种东西。没有这个见证，“项目”就不存在了。(4)

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)

它不只是看这个项目，而是让它围绕你，包围你，成为它的一部分，它成为你的一部分，被动和积极地，跟随我们自己的观察和思考能力。

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.

这一经验的实现是通过两项行动实现的：

The materialization of this experience is achieved through two operations: 

第一种是支撑或地形的定义，一种有光滑土丘、被草和海绵植被覆盖的景观，被无数不同的野花染成颜色(5)，它还将被一条小溪覆盖，可以简单地跳跃。这幅风景是从一个虚构的地方拍摄下来的，它可能是一片荒野的草地，也可能是阿尔弗雷德·西斯利(6)的一幅画的瞬间。我们相信，天然(人工)斜坡和海绵是最愉快的地方之一，步行，坐下，休息或躺下。

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

Guillermo Hevia García Nicolás Urzúa提供

第二个操作是插入三个镜像钢二维平面，建立一系列内外空间，消除限制，消失，让反射的环境成为真正的工程。

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. 

这些磁带的形成和结构使用了大量的凹槽和凸度，这些凹坑和凸度允许在3.2米的水平上自给，只有40毫米的厚度(7)，几乎没有将其固定在地面上的元素，只有建筑所需的最小点。

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. 

这三个二维平面之间的关系形成了一个不对称的体积，几乎被打破了，在我们不感兴趣的情况下，形式本身的构造不感兴趣，而不是镜像平面、曲线和反曲线之间的相互作用，在这种情况下，我们将反射和变形情况的数量乘以，从而产生一个属于幻象世界的相互作用，比真实更超现实，因为在自然界中，垂直反射是不存在的。(8)

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

Guillermo Hevia García Nicolás Urzúa提供

正如它发生在“Palacio del Alba y el Ocaso”(9)，没有水平屋顶元素，光线和阴影是形成和投影在地面上的影响的垂直平面。飞机的近距离将倾向于在一天的大部分时间里给山丘遮阴，形成一个模板环境，这个环境也会被流过这片风景的小溪的声音和存在所刷新。

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.

同样的垂直平面和投影阴影的资源，由何塞安东尼奥科德奇令人钦佩地使用，形成和遮挡的平台，扩大的ETSAB大楼(10)，建于1980年至1984年在巴塞罗那。

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

Guillermo Hevia García Nicolás Urzúa提供

曲线，反曲线和事实，在许多时候，磁带是对着对方，在不同的距离，将产生一个宇宙的反射，乘积和变形，就像我们是在勒内马格里特(11)，甚至面对一些肖像弗朗西斯培根(12)。这一经验是在我们进入项目的过程中获得的，我们的方法是不同的，我们接近它，触摸它，我们离开它。这些情况被强化了，因为更多的身体在这个地方移动，产生了色彩和动作的编排，这些动作将被无限地乘以。

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.

我们一直想把对象提案的中心变成主体的经验、他们的互动和他人的经验，以及他们周围的环境或环境将如何与他们一起和在他们之前得到反映和变形。最后，我们不打算建立一个封闭的提案，而是阐述一个对许多正在发生的事情开放的感觉和经验的宇宙。

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.

[a]Rae 1。f.当障碍物被挡住时，光、热或声音的方向或方向的物理变化。[b]RAE 2。f.尽管或仔细地考虑某事，以研究和理解它。

[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

Guillermo Hevia García Nicolás Urzúa提供

建筑师：Guillermo Hevia García，Nicolás Urzúa Soler地点：Araucano公园，LasCondes，圣地亚哥大都会区，智利合作者：Cristian Fuhrhop，Felipe Droppelmann，Cristbal Montalbetti y Diego Rivera Client Constructo Project 2016

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