Funeral Home and Garden in Pinoso Cor

 © David Frutos

(C)戴维·弗鲁托斯

“对死亡的恐惧无非是认为自己不明智，因为我们相信知道我们不知道的事情。也许死亡是人类最大的福气，没有人知道，但每个人都害怕，好像他们绝对肯定知道这是最坏的恶行。“

“The fear of death is nothing other than considering oneself wise without being so, because it is believing to know about that which we don’t know. Maybe death is the greatest blessing for human beings, no one knows, and yet everyone is afraid as if they knew with absolute certainty that it is the worst of evils.”

(苏格拉底，公元前47-399)

(Socrates, 470-399 BC)

 © David Frutos

(C)戴维·弗鲁托斯

历史上，我们发现死亡的不同定义向我们展示了这个概念是如何从更接近黑暗、痛苦和恐惧的地方转移到与悲伤、变化和光明的概念相联系的位置上的。

Historically, we find different definitions of death that demonstrate to us how this concept has moved from places closer to darkness, pain, and fear, to positions linked with the concept of sadness, change, and light.

设计一个人将生活在其中的建筑，可能是人类生存中最未知的阶段，它必然涉及到将不确定性作为一个概念纳入设计过程的假设。

Designing a building where one will live possibly the most unknown phase of human existence necessarily involves the assumption of uncertainty as a concept to be included in the design process.

我们把这座建筑理解为一个不被遗忘的地方，它停留在使用者的视网膜上，因此是一个必须控制敏感的地方。声音、温度、光线、湿度、照明、隐私以及与自然的关系等参数都非常重要。

We understand this building as a place that will resist being forgotten, staying in the retina of its users, and therefore a place where the sensitive has to be controlled. Parameters like sound, temperature, light, humidity, lighting, privacy, and the relationship with nature take great importance.

 © David Frutos

(C)戴维·弗鲁托斯

该地段位于村外，在一个牛角的尽头，附属于市政体育中心和文化中心，两者都是伟大的活动。这种情况产生了一些城市紧张，因为建筑物之间的各种不相容的活动。在这种情况下，我们建议将建筑物布置成一个具有足够身份的植物缓冲地带，使其成为所有这些公共建筑和活动的“中心”。我们创造了一片由29棵日本枫树组成的茂密森林，能够表达、区分和限制各种用途。

The lot is located outside the village, at the end of a cul-de-sac, attached to the municipal sports center and behind a cultural center, both with great activity. This situation generates some urban tension, because the building is located between various incompatible activities. In this situation, we propose to lay out the building generating a vegetal buffer with sufficient identity to establish itself as ‘center’ of all these public buildings and activities. We created a dense forest of 29 Japanese maples, capable of articulating, differentiating and limiting the various uses.

 © David Frutos

(C)戴维·弗鲁托斯

此外，建筑物在后面下沉，就像一个洞穴，它的主要正面突出在前面。与地面完全相同的绿色屋顶及其植物成分强调了这一点。这否认了市政体育学校每天使用的相邻体育轨道的任何直接看法。正是由于这个原因，这座建筑被设置在五个四合院周围，允许与外部有控制的关系。从大厅里，只有内部和天空是可见的。

Additionally, the building is sunken in the back, and like a cave, its main facade juts forward. The green roofs and their vegetal composition exactly the same as the ground emphasize this. This denies any direct views from the adjacent sports tracks, used daily by the municipal sports schools. It is for this reason that the building is set around five courtyards that allow a controlled relationship with the exterior. From inside the halls, only the interiors and the sky are visible.

 © David Frutos

(C)戴维·弗鲁托斯

在形式上，建筑物通过一个由梁和悬臂组成的虚拟结构被打破，释放了任何结构单元的极限和连接。从远处看，这座建筑被认为是掩埋在树木之间的一大群，从更近的距离来看，细微差别似乎让人能够感觉到建筑的不稳定性-某种旨在安抚和取代用户、减缓用户进入速度的建筑-在其内部，空间被欣赏得稀薄而微妙。

Formally, the building is broken through a virtual structure of beams and cantilevers, freeing the limits and joints of any structural element. From a far distance, the building is perceived as a mass buried among trees, from a nearer distance, nuances appear that allow one to perceive the instability of the construction – something looking to soothe and displace the user, slowing its access – In its interior, the space is appreciated thin and subtle.

对比“脆弱”，在这个项目中可以识别的不是意外，而是内在的一次遭遇，是它外在的形式和物质力量。这个项目试图通过对抗这两种截然不同的情况来减缓我们生活的速度：一个轻而失重的内部对抗钝重的外表。

Contrasting ‘the fragile’, identifiable in this project not as an accident but rather as an encounter evoked within, is the formal and material strength of its exterior. The project seeks to slow down the speed with which we live through the confrontation of these two contrasting situations: a light and weightless interior against a blunt and heavy exterior.

 © David Frutos

(C)戴维·弗鲁托斯

在这个新的地方，对人们来说，内部-外部透气性变得非常重要。

The interior-exterior permeability becomes very important in this new place for the people.

出入有两方面：主要通道与接待处和自助餐厅以及位于前花园的殡仪馆的管理办公室和共同用途相连，在建筑物的极限处，没有任何休息或休息的地方，以便用户能够阅读该通道。没有信号。这样做的目的，再次是要取代用户在他们与建筑物的关系。传统上，这是一个家庭和友好聚会的场所，不仅表示对死者的爱戴和尊重，而且在许多情况下，很长时间没有见面的人也能见面。在这种情况下，我们打算在外面的花园里和集体中相遇，我们认为这在情感上很有趣，原因有两个：第一，问候和噪音可以发生在外面(殡仪馆是一座500平方米以下的小建筑)；第二，面对个体的抑郁经历，一个群体通常表达支持的感觉和情感。

Access is twofold: the main access is linked to the reception and cafeteria, as well as the management offices and common uses of the funeral home, located on the front garden, at the limit of the building, without any recess or break to allow the user a reading of the access. It is not signaled. The aim, again, is to displace the user in their relationship with the building. This is, traditionally, a place of family and friendly gatherings, which not only shows affection and respect for the deceased, but also, in many cases, people who had not seen each other in a long time can meet. In this situation, we intend for encounters to happen in the exterior garden and for the access to be collective, which we believe is emotionally interesting for two reasons: the first, greetings and noise can take place outside (the funeral home is a small building under 500 m2); and the second, facing an individual experience of depression, a group normally expresses feelings and emotions of support.

 © David Frutos

(C)戴维·弗鲁托斯

计划中的组织响应从最公开到私人的5层隐私图：在第1层，最公共的，是出入大厅、接待处、自助餐厅、办公室和洗手间；在2层，是通往礼拜堂的大型等候区，也是次级出口所在的地方；这个区域通向第三层，每个守灵室的等候室；第四层非常重要，因为它不是表面的，而是材料的，是通往所有墙壁都是用不同照明的山毛榉木建造的每一个房间的通道，它是建筑物最狭窄的空间，试图设定一个限制，并暗示它是通往一个安静区域的通道；第5级是唤醒室，它可以根据公众或个人决定的数量以各种方式配置，整个房间在声学上是有条件的，因此声压级不超过35分贝。

The organization in plan responds to a 5-level privacy diagram from the most public to the private: at level 1, the most public, is the access hall, reception, cafeteria, offices and restrooms; at level 2, is the large waiting area that leads to the chapel, and is also where the secondary exit is located; this area leads to level 3, the waiting room for each of the wake rooms; at level 4, of great importance because it is not superficial but material, is an access area to each room where all the walls are made of beech wood, lighted differently, it is the narrowest space of the building, attempting to set a limit and imply that it is an access to a quiet area; the level 5 is the wake room, which can be configured in various ways according to the amount of public or personal decision, the entire room is conditioned acoustically so that the sound pressure levels do not exceed 35dB.

 © David Frutos

(C)戴维·弗鲁托斯

每个房间通过一个庭院与外部有直接的关系。每个庭院都是一个不同的层次，这导致不同的看法和感觉从每个房间的内部。四合院从地板到天花板的玻璃墙被设置在三个不同的位置，在地面以下，在地面上80厘米。当一个人进入半埋的建筑时，对外部的感觉是不同的，但是我们相信，当一个人不知道这个房间有多深的时候，呆在里面就更有趣了。此外，庭院被附在两本书上，出现在绿色的屋顶上，这增加了这种感觉。这些体积是礼拜堂和空调设施的区域。

Each room has a direct relationship with the exterior through one of the courtyards. Each courtyard is at a different level, which causes different views and feelings from the interior of each room. The glass walls from floor to ceiling of the courtyards are set in three different positions, below the ground level, at ground level, and 80cm above ground level. When one enters a half buried building, the perception of the exterior is different, but we believe that it is more interesting to be inside not knowing how deep underground the room is. Also, the courtyards are attached to two volumes that emerge above the green roofs, which increase this feeling. These volumes are the chapel and the area for air conditioning facilities.

 © David Frutos

(C)戴维·弗鲁托斯

礼拜堂在设计中使用了比例、颜色、声音和灯光的概念，其目的是创造一种“日常非语境化”的环境，使用户能够在某种程度上避开次要和世俗，能够思考重要的事情。礼拜堂是从一个大而沉重的门进入，同时脆弱和不稳定，‘它是门从一个不同的地方’，拉门和进入是一个未知的经验，用户。这扇门是小礼拜堂空间边界的一部分，上面的窗户裂开了，而且有很强的吸声能力，这是一个安静的地方，也是光标记时间的地方。

The chapel uses in its design the concepts of scale, color, sound and lighting in a very specific order with the intention of generating an environment of ‘de-contextualization of the everyday’ that allows the user, in a way, to evade the secondary and the mundane, to be able to reflect on the important. The chapel is accessed from a large and heavy door, at the same time fragile and unstable, ‘it is the door from a different place’, to pull that door and enter is an unknown experience to the user. This door is part of the spatial boundary of the chapel, lit by the upper windows cracked open and conditioned with great acoustic absorption, a place where silence is heard and where the light marks time.

 © David Frutos

(C)戴维·弗鲁托斯

礼拜堂有两个功能：一个是为一个团体，如葬礼仪式，另一个是个人的独特，以及个人的回忆。在建筑上，唯一的不同之处是人工照明的类型。在举行仪式的情况下，启动离地面50厘米的照明装置，以及在祭坛区域的固定装置，产生一个失重的空间，光线在膝盖以下；而对于个人记忆，没有激活照明装置，空间是从相邻庭院的外部信标上点燃的，这种灯照亮天花板，将空间向上延伸。

The chapel has two functions: one is for a group, such as funeral rites, and another is personal and unique, as is the personal recollection. Architecturally, the only difference proposed is the type of artificial lighting. In the case of holding a ritual, lighting fixtures 50cm from the ground are activated, as well as fixtures in the altar area, generating a weightless space where light is below the knees; whereas for the personal recollection, no lighting fixture is activated, and the space is lit from external beacons in the adjacent courtyard, a light that illuminates the ceiling, stretching the space upwards.

 © David Frutos

(C)戴维·弗鲁托斯

十年来，这个位于阿利坎特的小镇一直是来自不同文化和传统的移民的居住地。这种情况日益严重，在这种情况下，10%以上的人口是国际移民。此外，信仰和习俗也在不断更新和改变，甚至那些信仰相同的人也会以不同的方式看待、理解和生活死亡。因此，这个殡仪馆将被不同信仰和传统的人们使用。这显然是间接的事实是特别重要的设计空间和内部循环。与死亡的关系越来越不同，也越来越个人化，从建筑的角度来说，这座建筑必须能够解决大部分这些情况。

For a decade, this small town in Alicante is the residence of immigrants from different cultures and traditions. This situation is increasingly present and real, in this case more than 10% of the population are international immigrants. In addition, beliefs and customs are updated and changed, and even people who share beliefs sees, understands, and lives death differently. Therefore, this funeral home will be used by people of different beliefs and traditions. This apparently circumstantial fact is especially important when designing the spaces and internal circulations. The relationship with death is increasingly different and personal, and this building, architecturally speaking, must be able to address most of these situations.

尽管组织是经过深思熟虑和定义的，但它在几个层次的不确定性和适应性上工作。这会产生复杂而分散的内部视图。

Although the organization is thought through and defined, it works on several levels of uncertainty and adaptability. This generates complex and diffuse interior views.

 © David Frutos

(C)戴维·弗鲁托斯

我们决不能忘记这一集体事业背后的努力。该项目的预算为431.583欧元，其中涉及相当大的努力，以寻找技术建设解决方案，系统，以减少维护成本，并在景观和可持续性方面的最大程度的生态适应。这是一种以更少的代价提供更多的干预。

We must not forget the effort behind this collective enterprise. The project has a budget of 431.583 €, which involves a considerable effort to find technical building solutions, systems to reduce maintenance costs, and maximum degree of ecological adaptation in terms of landscape and sustainability. This is an intervention that gives more for less.

 © David Frutos

(C)戴维·弗鲁托斯

我们没有发展正式的话语，或风格的话语，技术或标志性的…。我们只是缓慢地完成了这个项目，而没有忽略上面描述的每一个评估，特别强调的是不要在纪律对话中解散他们，不断地拯救他们并给予他们价值。

We have not developed a formal discourse, or a discourse of style, of technique or iconic… we have only worked the project slowly without losing sight of each assessment described above, with particular emphasis in not dissolving them in disciplinary conversations, constantly rescuing them and giving them value.

情感是学习和设计的又一个因素。假设高度的不确定性并定义行为主义的极限，我们认为这可能是未来项目中最有吸引力的研究概念之一。

The emotional is one more factor of study and design. Assuming high degrees of uncertainty and defining the limits of behaviorism, we believe that this may be one of the most attractive study concepts in future projects.