架构师提供的文本描述。“剪影花园”中的触觉感知1。建筑中的触觉知觉如果眼睛“是距离和分离的器官”，触觉是“近在咫尺、亲密无间和亲情的”。眼睛“观察、控制和研究”，而触摸“接近和爱抚”。

Text description provided by the architects. Tactile perception in “the Garden of the Silhouettes” 1. Tactile perception in architecture If the eye "is the organ of distance and separation", touch is the one “of nearness, intimacy and affection". The eye "surveys, controls and investigates", whereas touch "approaches and caresses." 1.

2.童年的触觉知觉：动作的场景。一个孩子实验了一个新的发现，当他的手和脚的动作留下可见的痕迹：他的指纹在物质上。

2. Tactile perception in childhood: a scene for the action. A child experiments a new discovery when the action of his hands and his feet is leaving visible traces: his fingerprints in the material thing.

3.触摸知觉在花园的剪影3.1。主门在建筑作品定义中存在一定的时间点，其中室外空间表皮和室内空间表皮聚集在一起：主门。节奏减慢，双脚似乎停了下来，男人的皮肤和建筑物的皮肤相互接触。

3. Tactile perception in The garden of the Silhouettes 3.1. The main door A certain point of time exists in the architectural work definition where the outdoor space skin and the indoor space skin come together: the main door. Rhythm slows down and the feet then seem to pause, the man’s skin and the building’s skin touch each other.

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大卫·弗鲁托斯·比斯图片社

3.2.节奏也是一种触觉体验，皮肤破裂产生韵律。围绕花园周围的皮肤，它正在发生多重的‘剪影’。该空间的人工照明提供了同样生机勃勃的，排序的特征，就像白天一样，在陶瓷件的垂直连接内使用薄的发光器。

3.2. Rhythm is also a tactile experience The skin breakup produces rhythm. All around the perimeter of the Garden’s skin it is taking place the multiplicity of ‘the silhouettes’. The artificial lighting of that space offers the same vibrant, sequenced character throughout the night just like the day, by using thin luminaries inside the vertical joints of the ceramic pieces. 

 © David Frutos | BISImages

大卫·弗鲁托斯·比斯图片社

3.3.剪影花园的物质骨架。剪影花园在三个逐步的层次上运作：儿童的规模，人的规模，建筑和环境的规模。折叠式地板折叠地板，以确定儿童的身高，用他的小尺度，使我们能够感觉到空间就像“拥抱在下面”：“空间能够将我们握在手中”。

3.3. The material skeleton of The Garden of the Silhouettes. The Garden of the Silhouettes operates in front of three gradual levels: the scale of a child, the scale of Man and the scale of the building and the environment. The folded floor Folding the floor in order to define the heigth of a child, with his small scale, make possible we could perceive space like ‘an embrace below’: ‘space is able to hold us in its hands’.

剪影花园，作为一个光的空间和一个幻想的时间，被设想为被实验，正如Juan Ramón Jiménez所写的，就像“自然，儿童的童年海滩，以及那些没有忘记他们可以再次成为孩子的男人的海滩”2。

The Garden of the Silhouettes, as a space of light and an illusion time, has been conceived for being experimented, as Juan Ramón Jiménez wrote, like “Nature, childhood beach for children and for men who have not forgotten that they can be children again”2

雪铁糖1号，朱海娜。皮肤的眼睛。建筑和感官。奇切斯特(西苏塞克斯)，威利-学院，2005年，p。47.2 Jim Enez，Juan RAM N.Tiempo y Espacio。弗拉格门托3号。马德里。“经济发展新议程”，1986年，p.84.

Citas 1 PALLASMAA, JUHANI.The eyes of the skin. Architecture and the senses. Chichester (West Sussex), Wiley-Academy, 2005, p. 47. 2 JIMÉNEZ, JUAN RAMÓN. Tiempo y Espacio. Fragmento 3. Madrid. Biblioteca Edaf, 1986, p. 84.