所有的事情都发生了，在那些水晶橱柜里，我们作为伟大的拉比，从右到左阅读“Retiro del Espejo su in retrato”。

Everything happens and nothing is remembered in those crystal cabinets where, as great rabbis, we read books from right to left JLB "Retiro del espejo su vivo retrato"

我带着隐喻进入这个项目，也许是因为它是原始人与媒介沟通的第一种方式，当它摧毁了动物饲养场，它的思想开始具有象征意义。这个，我不知道它是什么，隐藏在它的背后，一个辅助生育诊所。复制。其中的理念比内容更有价值，意义上是建构性原则。反映作为再现的隐喻。讨厌他们的博尔赫斯说：“镜子和父亲的身份是可憎的，因为他们繁衍传播。”

I enter the project with metaphors, perhaps because it was the first way that the primitive communicated with the medium, when it knocked down the animal barnyard and its thinking began to be symbolic. This, which I don't know what it is, hides behind it an assisted fertility clinic. Reproduction. Where the idea has more value than the content, meaning as constructive principle. Reflection as a metaphor for reproduction. Borges, who hated them, said "mirrors and fatherhood are abominable because they multiply and disseminate it".

从“纪律”来看，有一种将其归类为极简主义或巴洛克式的诱惑。两者兼而有之。与JLB的定义相吻合的是：巴洛克风格故意耗尽或想耗尽它的可能性，并且与它自己的漫画接近。在这种观点下，极简主义和巴洛克主义是相同的，一种是丰富的，另一种是稀缺性的，把它们的可能性推向极限。这是我在分析一个项目时感兴趣的观点，其中形式是解释的结果。我仍然认为，建筑师是谁解释，而不是谁建设。

From "the discipline", there is a temptation to classify it as minimalist, or baroque. It is both, simultaneously. Coinciding with that definition of JLB which states: Baroque is that style which deliberately exhausts, or want to exhaust, its possibilities, and that borders with its own caricature. In this view, minimalism and baroque are the same, one for abundance and the other for scarcity, taking their possibilities to the limit. That is the view that I'm interested in when analyzing a project, where form is the result of interpretation. I still think that the architect is one who interprets, not one who builds.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

不可避免的问题是：这是什么东西？是建筑吗？今天我们叫什么建筑？它的定义是否仍然相同？还是原来的样子吗？正如福柯所言，在纪律学会已经结束的今天，它仍然是一门学科。

The question that inevitably arises is: What is this thing? Is it architecture? And, what do we call architecture today? Is it still defined the same way? Is it still what it was? It remains a discipline today, when disciplinary societies have come to an end, as Foucault puts it.

无法重建过去的建筑。是建筑吗？一部没有形式的作品，它不关心重量的分布或循环，也不关心阴影-只专注于忽略重力。它的形象是无法居住的，一个不可能的反射空间。当它反射时，它不是一面镜子，虽然它看上去和被看到，但它不会再现：它解释。非物质的，它的行为就像流体，反映不完美的图像，液体建筑。只是一种幻觉，就像来到这个地方的人中的一个：一个辅助生育诊所。没有迹象表明它适合居住，没有门，窗户，飞檐，所有区别于建筑与雕塑或纪念碑的东西。这些纪念碑，呼吁纪念。镜子没有记忆，它的形象在不断变化。它无法保留一个内存。它扰乱了一半的街区，它没有保护，它令人惊讶。在任何媒体中，它都是语境的，它鄙视地方的概念，即使它来自于它，它也消耗了这个地方，它可以在任何地方，在威尼斯，在阿根廷的潘帕斯，在纽约，在福夫拉，它总是在以其他方式讲述周围发生的事情，而不是说其他的东西，而不是它是什么，它发生了什么，或者它的历史，这就是它的来源。建筑总是用它的语言说：我是一所房子，一座建筑，一座监狱，一所学校.等这个项目试图以不同的方式解释周围发生的事情，看看它是如何转变的.它不复制现实，它扰乱和嘲弄它。它是一种寄生虫，它消耗图像。就像建筑是它所庇护的社会过去的反映一样，这个项目的外观也是相反的，它反映了周围正在发生的事情，总是发生在现在。它不是名词，而是动词。它并不是在时间或空间中徒劳地扩展了一个不确定的现实。它上的形象是一个不真实的世界的现实，自相矛盾。它不是被寻找，而是被发现，就像由街道上光线反射而形成的精子一样，这是一种巧合。

An architecture unable to make a mark, a trail, to reconstruct a past. Is it architecture? A work which has no form, which does not care about the weight distribution or circulation, or about the shadow - only dedicated to ignore gravity. Its image is displayed uninhabitable, an impossible space of reflections. And while reflecting, it is not a mirror, although it looks and is seen, it does not reproduce: it interprets. Immaterial, it behaves like fluids that reflect imperfect images, a liquid architecture. Only an illusion, as the one of those who come to this place: an assisted fertility clinic. There is no indication that it is habitable, no doors, windows, cornices, everything that differentiates architecture from a sculpture or monument. These, the monuments, appeal commemoration to memory. The mirror has no memory, its image is constantly changing. It is unable to retain a memory. It disturbs half of the block, it does not protect, it surprises. It is contextual in any medium, it despises the concept of place, even though it lives from it, it consumes the place, it could be anywhere, in Venice, in the Argentine pampas, in NYC, in a Favela, and it will always be otherwise narrating what is happening around it to say something else, not what it is and what happens in it, nor its history, that is, where it comes from. The architecture always says, in its language, what it is: I am a house, a building, a jail, a school... etc. This project tries to interpret what happens around it differently, and see how this transforms... it does not copy reality, it disturbs and mocks it. It is a parasite that consumes images. Just as architecture is the reflection of the past of the society it shelters, the facade of this project acts in reverse, it is the reflection of what is happening around it, always during the present. It is not a noun, it is a verb. It is not in the time or space that extends in vain an uncertain reality. The image that appears on it is the reality of an unreal world, contradictory. It is not sought, it is found, like the sperm that is formed by the reflection of light from the street, a coincidence.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

这个项目是物化的，不是因为第一世界使用的钢材的完美。它寻求不完美，纯粹扭曲和不完美运动的感官形象，就像人类一样，它的目标是产生。

The project is materialized not with the perfection of steel used in the first world. It seeks imperfection, sensual images of pure distortion and imperfect movement, like humans, which it aims to engender.

伙计.。只是十字路口上看不见的一点，镜子的边缘.“JLB

Man ... is only an invisible point at a crossroads, an edge of mirrors ..." JLB

它不像建筑那样存在，它是不存在的，它只通过另一个存在。以事件为食的寄生虫。非物质性的，非名词性的，只有动词、动作、物质结构才能实现。就像这座城市。

It is not present like architecture, it is shown absent, it exists only via the other. A parasite that feeds on events. Insubstantial, immaterial, not made of nouns, it is only realized with verbs, with actions, not with material constructions. Just like the city.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

在现实中，无法捕捉过去，它是徒劳地蹲在那里去窥见一个不完美的未来，而这并不是它所拥有的。对于一个本体论，它不认为存在是一个完全实现的结构，它是对实体的支持或实质，而是作为一个持续的起源而发生的永久事件，哲学意味着仅仅在海德格尔采用德文中的Wesen(存在)一词的意义上承认本质，不是名词，而是不定式动词.就像奎特格拉斯说的。

Inactual, unable to catch the past, it is crouching in vain to catch a glimpse of an imperfect future, which it may not harbor. For an ontology that does not think of the being as a fully realized structure, that serves as support or substance to the entities, but rather as a permanent event as it happens, as a continuous origin, philosophizing means recognizing essences only in the sense that Heidegger adopts the word Wesen (being) in German, not as a noun but as an infinitive verb........... As Quetglas says.

自相矛盾的是，在金属之间，有记忆的，也有没有的。铜没有记忆，如果折叠，它就不会回到原来的状态，不锈钢就会恢复。但是这个门面没有记忆，它不能记住一种风格，一种方法，一种时间，或者告诉我们它的用处。这只是一场奇观。没有记忆，就失去了意义的连续性，失去了语言的连续性，失去了判断的连续性。它收集事件只是为了忘记它们。它的财富很贫乏。

Paradoxically, between metals there are those with memory and without. Copper has no memory,  if folded, it does not go back to its original state, stainless steel does. But this facade has no memory, it can not remember a style, a way of doing, a time, or tells us its usefulness. It is just spectacle. Without memory, continuity of meaning is lost, of language, of judgment. It collects events only to forget them. It is poor in wealth.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

这不仅仅是建筑本身的形象。它脱离了它的概念网络，与其他人在一起，而不是像其他人一样。我又回到麻烦博尔赫斯：“我看到他们无限的，基本的，一个古老契约的执行者：繁衍世界为生殖行为，不眠和致命。”扰乱极限，虚空，重复，模棱两可，盲目设计。

It's not just an image of itself like architecture. Its escapes its conceptual network to be with others and not be like everyone else. I am back to bother Borges: "I see them infinite, elementary, executors of an ancient pact: multiply the world as the generative act, sleepless and fatal." Disturbing the limit, a temperamental void, repetitions, ambivalence, blind design.

作为一个垂直的地平线，将地球与神圣，或真实与幻想分开。

As a vertical horizon that divides the earthly from the divine, or the real from fantasy.

这是关于以一种不正常的方式恢复传统，变形来突出这是另一个时间，另一个空间，所以它应该有另一种语言，另一种句法，试图突出历史叙事的中断。或者至少把它从表演角色中移开，把它变成一个“微不足道”的故事。

This is about recovering the tradition in a deviant manner, deformed to highlight that this is another time another space, so it should have another language, another syntax, trying to highlight the interruption of historical narrative. Or at least remove it from the role of performances to transform it into an "insignificant" story.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

反对建筑的超越性和深刻性。它反映了媒介的物理本质，反映了它的回溯性，它被困在一个平面上，具有明显的深度，揭示了语言的表面功能。这里什么都没有，只有外表，图像。试图摧毁连接自然世界和建筑作品的存在主义联系。

Against the transcendence and profoundness of architecture. Reflecting the physical nature of its medium, to its retrospective nature trapped on a flat surface with an apparent depth, revealing the superficial functioning of language. There is nothing here, just appearances, images. Looking to destroy the existential link that binds the natural world and architectural work.

PS：正面污损图像，在某些情况下，取决于位置，它扭曲了剪影和图片看起来怀孕。我告诉一个朋友，当她进去的时候，她应该小心行事，因为这会让一个人怀孕，甚至不分性别。她告诉我，工厂已经关闭，一个游乐园已经就位。

PS: The facade defaces the images and in some cases, depending on the position, it distorts the silhouette and the picture looks pregnant. I told a friend that when she goes inside, she should do so carefully, because it makes one pregnant, and does not even discriminate by gender. She told me that the factory had closed and an amusement park was put in place.

在这个项目中，我想谈谈私人和城市之间的联系。

In this project I am interested in talking about the contact between the private with the urban.

当一个前端模块被推回打开一个允许进入或退出的空白时，访问就会出现。也就是说，动词，进入，退出，关闭，打开，而不是名词门。在我所有的项目中，我对连接私人和公众的空间感兴趣。

The access arises when a front module is pushed back to open up a void that allows one in or out. That is, the verb, enter, exit, close, open, and not the noun door. In all my projects I'm interested in that space linking the private with the public.