架构师提供的文本描述。在八十年代初，头部爆炸的那个人吸引了当地和地区小报的微薄而热切的关注。他是一个不为人所知的艺术家，直到他声称他是一个极简主义者，一个概念主义者和一个流行艺术家，所有的同时，在他们的适当时间之前。他精彩而可怕的故事使他在1982年左右的另类流行音乐史上占有一席之地。随着那首不朽的歌曲的流传，编剧œ会跟着他转一圈，肥皂剧的作者会跟着他到处走，然后用他的珠宝做t.v。黄金时段。-欧罗

Text description provided by the architects. The man whose head in fact exploded captured the meager and eager attention of local and regional sensationalist tabloids in the early eighties. He was an unbeknownst artist, until he alleged that he had been a minimalist, a conceptualist and a pop artist, all simultaneously, and before their due time. His wonderful and frightening story gained him a place in the history of alternative pop music around 1982. As the song that immortalized him went, “the scriptwriter would follow him around, the soap opera writer would follow him around, and use his jewels for t.v. prime time.”

 © Fernando Guerra | FG+SG

费尔南多·格拉

当他向酒吧的同伴吉姆·巴拉德吐露心声时，12岁时，他要求父亲为他制作一种巨大版本的癫痫药片，以提醒他永远突出的癫痫发作。这是他安装在他房间的一个角落，后来在他的许多定制厕所之一改建。扩大的物体是对着一个大的多面体手提箱，他用来作为适合衣柜和微型博物馆，以他早期的雕塑照片。这是一个奇怪的宇宙的开始，这个宇宙在19世纪末的一栋平淡无奇的联排别墅里展开。

As he confided to his pub companion Jim Ballard, by the age of 12 he asked his father to build him a giant version of the pills he took for epilepsy so as to remind him of ever-eminent seizures. This he installed in one corner of his room, later to be converted in one of his many custom-made toilets. The expanded object was cast against a large polyhedral suitcase that he used as a fit-in-wardrobe-cum-miniature-museum for his earlier sculptural upshots. This was the beginning of a strange universe that unfurled inside an otherwise unremarkable late 19th century townhouse.

 © Fernando Guerra | FG+SG

费尔南多·格拉

人们经过他的房子不愿透露姓名的街道，仍然不知道里面发生了什么奇怪的经历。他根据他不断增长的想象需求，在他精心挑选的地方做了一些大的东西。他复制了楼梯井，创造了全新的楼层。他挖掘了新的地下房间，并创建了一个狭长的游泳池。他把房间变成了圆形剧场，然后在图书馆里进行改造。他把空空如也的电梯竖井改装成了可怕的单弦吉他。他把空间复制到幽灵般的、无穷无尽的视角中。

People passed the street where his house anonymously sat and remained unaware of the strange experiences conducted inside. He made large things that he installed in manically chosen spots according to his growing imaginary needs. He duplicated stairwells and created whole new floors. He excavated new underground rooms and created a thin, long swimming pool. He turned rooms into amphitheaters that would then be transformed in libraries. He converted empty elevator shafts into monstrous one-string guitars. He replicated spaces into ghostly, endless perspectives.

 © Fernando Guerra | FG+SG

费尔南多·格拉

他暗杀了各种类型的人，并以新的混合形式复活了他们。他把旧的焊接成新的，把奇怪的焊接成普通的。他在狭小而荒诞的思考空间里，在一条走廊里，靠一扇高高的小窗户，竖起了一个高高的座位结构。这个尴尬的洞既属于早已消失的太空时代场景，也属于复古未来派的德国表现主义戏剧。这是他保持思想温暖的地方。他声称大卫林奇发明了讨厌的散热器女士，他在七十年代中期拜访了他，当时他正蹲在他的小工作室里。

He assassinated typologies and resuscitated them again in new hybrid forms. He welded the old into the new, and the weird into the ordinary. For his tiny, absurd thinking space he erected a high seating structure in a corridor, by a high small window. The awkward shaped hole belonged both in long gone space-age scenarios and in retro-futuristic German expressionist dramas. This was the place where he would keep his thoughts warm. He famously claimed that David Lynch invented the obnoxious Radiator Lady after he visited him in the mid-seventies while he was crouching in this little studio of his.

 © Fernando Guerra | FG+SG

费尔南多·格拉

那个脑袋张开的人觉得没有必要离开他的实验室。他很少娱乐。上一次他让任何人给他的领地拍照时，房子仍然很空。就像传说中的那样，他继续建造了如此之多的物体，以致于房子变得难以穿越和迷宫般的形状。他一直在改变空间，直到它们变成扭曲的和自古不变的。房子里满是他的全部剧目，直到他的脑袋再也无法抑制他思想的癌变扩散。就在他死前，那个脑袋张开的人认为他应该起诉大卫·林奇、达米安·赫斯特和马克·E·史密斯。

The man whose head expanded felt no need to ever leave his laboratory. He rarely entertained. The last time he let anyone photograph his domain, the house was still fairly vacant. As the legend goes, he went on to build so many objects that the house became impenetrable and labyrinth-like. He kept changing spaces until they became twisted and Piranesian. The house was to be filled with his entire repertoire, until his head could no longer contain the cancerous proliferation of his ideas. Just before he died, the man whose head expanded thought he should have sued David Lynch, Damien Hirst, and Mark E. Smith.