© Geraldine Bruneel

杰拉尔丁·布鲁内尔

架构师提供的文本描述。有些东西诞生了，有些东西死了.。但是人们还记得一个原始的地方，夜晚的大火，空中的钢铁，沉睡者和铁轨，黑色的煤炭和黑暗的水-一切都在流动，那些奇怪的汞合金在风景的回忆中挣扎着生存，人们再一次建造，疯狂的建筑师，无家可归的游牧民，令人兴奋的是，久坐在地上的人把发现的材料均匀地分布在新的广场上，认识到可能影响他们转变的条件的现实，并让最终的再分配成为这个过程的结果，在这个地方居住着钢铁制造商、造船者、土地耕耘者的记忆，以及公共钢铁和石头的所有坩埚的所有组成部分，木材和肥沃的土壤，都死了很久以前，现在都复活了，混合在一起，在小的可转换空间，以发现嬉戏，亲密或集体，在其中一个人可以只是看或听，或可能试图再一次用另一种地形，地理口袋周围的景观和一个平坦的河口，振动与它羡慕的山。

Text description provided by the architects. Something is born, something dies... but people remember a primitive place, evening fires, steel in the air, sleepers and rails, black coal and dark water everything flows, and the memory of that strange amalgam struggles to survive in the recollection of the landscape and men build once more, mad architects, homeless nomads, exciting places for the sedentary written on the ground distributing the discovered material uniformly across the new plaza recognising the reality of conditions that may affect their transformation and letting the definitive redistribution emerge on its own as the fruition of the process in a place wherein resides the memory of the steel alquemists, the boatbuilders, the land tillers, with all the components of that crucible amalgamated for the public steel and stone, wood and rich soil, all dead long ago, now revive, mixed together in small transitable spaces apt for discovery of frolic, intimate or collective in which one can just look or listen, or perhaps try to speak once more with an alternative topography a geography for pocketing the surrounding landscape and a flat estuary that vibrates with the mountains it envies.

 Floor Plan

广场景观中的七座山，高耸的钢结构作为夜间冥想和标点符号的场所，水晶亮度，两年后在黑暗中看到其他火焰轮廓的人的记忆-这是一部建筑本身的作品，其材料和混合的预设代码，建筑人员理解并执行一种数字地形，在那里顶点比输入的植被线更重要，在一系列的密度和高度上适应这个计划。

Seven hills in the plaza landscape with raised steel structures as places for contemplation  and punctuation in the night, crystalline luminosity, the memory of those who knew other flames silhouetted in the darkness two years later a work that builds itself, with predetermined codes of materials and mixings that constructors understands and execute a numeric topography where vertex are more important than lines an imported vegetation, adapting to the scheme on a series of densities and heights.

 © Geraldine Bruneel

杰拉尔丁·布鲁内尔

不可能的石头曲线、精密的公有木材和经过熨烫的具体算法星座将指引我们度过空间自我生成的夜晚，我们不知道它的用途，但它似乎是一套多种可能性，当然，人们会创造自己的使用系统-也许恋人们会躲在阴暗的客厅里，而长辈则会讲述他们在萨利克斯周围的故事，孩子们会在水塘上做纸船，然后在另一边把它们捡起来。滑冰者迫不及待地想要使用那种奇怪的地形，每个人都会有事情要做，但我真的不知道。

Impossible stone curvatures, sophisticated woods for public use and ironed precasted concrete Algorithmic constellations will guide us trough the night the space has self generated and we don´t know its use, but it seems to be a set of multiple possibilities, surely the population will create their own using system maybe lovers will hide on the shadowy living rooms and the elder will tell their stories joined around the salix kids will make paper boats on the water ponds and pick them up in the other side, the skaters cannot wait to use that funny topography, everybody will have something to do but I don´t really know.

 © Roland Halbe

罗兰·哈贝

Architects NO.MAD

Location Calle Escuela Arte y Oficios, 12, 48901 Baracaldo, Biscay, Spain

Category Plaza

Architect in Charge Eduardo Arroyo

Area 12000.0 sqm

Project Year 2002

Photographs Geraldine Bruneel, Roland Halbe