(*) Fernando Pérez Oyarzún.
Arquitecto en la Pontificia Universidad Católica de Chile (1977) y Doctor Arquitecto en la Escuela Técnica Superior de Arquitectura de Barcelona (1981). Actualmente es Profesor Titular y Jefe del Programa de Doctorado en Arquitectura y Estudios Urbanos en la Facultad de Arquitectura, Diseño y Estudios Urbanos y Director del Centro de Patrimonio Cultural de la misma universidad. Anteriormente fue Director de la Escuela de Arquitectura (1987-90) y Decano de la Facultad de Arquitectura y Bellas Artes (1990-2000). Es autor o co-autor de siete libros vinculados a la teoría e historia del proyecto arquitectónico y urbano. Numerosos artículos o capítulos de libros de su autoría han sido publicados en Chile y el extranjero. Ha sido Visiting Design Critic de la Universidad de Harvard, Simón Bolívar Professor de la Universidad de Cambridge y Fellow del Swedish Collegium for Advanced Study (SCAS) de la Universidad de Uppsala. Ha ejercido la docencia o dictado conferencias en numerosas universidades tanto chilenas como extranjeras. Paralelamente a su actividad académica ha ejercido como arquitecto individualmente o asociado con otros profesionales. Architect at the Pontifical Catholic University of Chile (1977) and PhD in Architecture at the Escuela Técnica Superior de Arquitectura de Barcelona (Technical School of Architecture of Barcelona) (1981). He is currently Professor and Head of the PhD Program in Architecture and Urban Studies at the Faculty of Architecture, Design and Urban Studies and Director of the Cultural Heritage Center of the same university. Previously he has been Director of the School of Architecture (1987-90) and Dean of the Faculty of Architecture and Fine Arts (1990-2000). He has authored or co-authored seven books related to the theory and history of the architectural and urban project. Many articles or book chapters written by him have been published in Chile and abroad. He has been Visiting Design Critic at Harvard University, Simón Bolívar Professor of the University of Cambridge and Fellow of the Swedish Collegium for Advanced Study (SCAS) at the University of Uppsala. He has taught or lectured at many Chilean and foreign universities. Alongside his academic work he has practiced as an architect individually or in association with other professionals. 智利天主教大学建筑师（1977），巴塞罗那建筑 技术学校建筑学博士（1981）。目前担任智利天 主教大学建筑、设计与城市研究系建筑与城市研 究博士项目教授主任，文化遗产中心主任。曾担 任建筑学院院长（1987-90），建筑与美术系主 任（1990-2000）。他是七本关于建筑与城市项 目理论和历史著作的作者或合作者。曾在智利或 国外发表过很多文章。曾访问哈佛大学、拜访过 剑桥大学Simón Bolívar教授，Uppsala大学瑞典 高级研究管理委员会（SCAS）董事。曾在智利与 国外多所大学授课或演讲。除了学术工作外，他 也作为独立建筑师或与其他建筑师合作。
Again, we find here issues related to a time and a generation. The conviction, almost of an ethical nature, that architecture had to meet the aesthetic demands of a given time, and the technical possibilities available to serve social demands, has a profound impact on the work of BVCH. The idea of service was not for them at odds with quality. On the contrary, they felt it was exactly at its base. The fact that four architects could carry out this task as a group of people held together by mutual appreciation, properly resolving the unavoidable frictions, competition among members and differences of opinion, is something that today draws us with a force as equal as that of their work. This aspect of their production, which evidences the values and the idea of architecture that at least part of a generation believed in, is a very substantial part of the legacy they leave us. 我们再一次发现，问题与时间和时代有关。坚定的信念几乎是道德 的本质，建筑需要达到特定时代的审美要求，和服务于社会要求的 技术可能性，对BVCH的作品有深远影响。服务的理念对他们来说与 质量没有不一致。相反，他们认为这正是其基础。四位建筑师作为 一个群体，之所以可以基于相互理解共同承担这个任务，合理地解 决不可避免的摩擦，与其他成员、不同的观点竞争，这正是我们今 天要学习的，就像学习他们的作品一样重要。他们的作品的这一方 面，明显是建筑价值和理念的体现，是至少让一部分这一代人相信 的，是他们留给我们遗产的非常重要的部分。
(4) El desarrollo de este proyecto de largo aliento coincide con la difusión internacional de la oficina que en los últimos años 50 y primeros 60 recibe considerable atención internacional siendo publicada por revistas como Architectural Design, Cuadernos de Arquitectura y Hogar y Arquitectura . The development of this long term project occurs simultaneously with the international dissemination of the office, which in the late ‘50s and early ‘60s receives considerable world attention, being published in magazines like Architectural Design, Cuadernos de Arquitectura and Hogar y Arquitectura. 这个长期 项目的建设与事务所的国际发展同时，在五十年代后期六十年代初获得了世界的关注。这个项目曾被刊登在《建筑设计》、Cuadernos de Arquitectura 、 Hogar y Arquitectura等杂志上。 (5) Entre los numerosos arquitectos que colaboraron con la ofician en algún periodo puede mencionarse a: Fernando Arnello, Juan Astica, Daniel Ballacey, Horacio Borgheresi, Luis Eduardo Bresciani, Hilda Carmona, Ricardo Farrú, Hugo Gaggero, Ricardo Jordán, Jorge Larraín, Gustavo Munizaga, Renato Parada y Oscar Santelices. La calidad que alcanza la obra de la oficina se debe, al menos en parte, a la de los colaboradores que fue capaz de atraer. Among the numerous architects that collaborated with the office during its history are: Fernando Arnello, Juan Astica, Daniel Ballacey, Horacio Borgheresi, Luis Eduardo Bresciani, Hilda Carmona, Ricardo Farrú, Hugo Gaggero, Ricardo Jordán, Jorge Larraín, Gustavo Munizaga, Renato Parada and Oscar Santelices. The quality attained by the work of the office is owed, at least in part, to the quality of the collaborators it was capable of attracting. 在BVCH历史上曾与其合作的助理建筑师有：Fernando Arnello, Juan Astica, Daniel Ballacey, Horacio Borgheresi, Luis Eduardo Bresciani, Hilda Carmona, Ricardo Farrú, Hugo Gaggero, Ricardo Jordán, Jorge Larraín, Gustavo Munizaga, Renato Parada 和Oscar Santelices。事务所所设计的作品的质量，至少有一部分要归功于事务 所吸引的助理建筑师的水准。 (6) El registro completo de trabajos realizados en la oficina que conserva Héctor Valdés incluye alrededor de 400 obras, muchas de las cuales son de pequeño formato. The complete record of the production of the office, kept by Héctor Valdés, includes around 400 works, many of which are small in size. 事务所作品的完整记录由Héctor Valdés保存，收录了约400个作品，其中很多是小型的。
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