架构师提供的文本描述。一天晚上，野口正木来看我。房间里什么都没有(既没有家具也没有画)。地板上铺着椰子纤维，从一个墙到另一个墙。窗户没有宫廷。野口Isamu Noguchi说：“在这个房间里，一只旧鞋会很好看的。”

Text description provided by the architects. One evening Isamu Noguchi came to visit me. There was nothing in the room (neither furniture nor paintings). The floor was coverded with coconut fiber from wall to wall. Windows had no courtains. Isamu Noguchi said: “an old shoe would look nice in this room”

 © Cristobal Palma

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位于瓦尔帕莱索山丘上的一个文化公园的分裂，被理解为一个新的融合与融合的空间，由于其作为监狱的最初目的，它呈现出一个潜在的矛盾：空间的封闭隐逸。主要的结构问题就在于这一奇点，可以作为一个基本问题：如何将封闭空间转化为一个整合的空间(构图并不取决于答案，而在于应该做什么问题(.)从选择的责任转变为要求的责任)

The comission of a cultural park located in the hills of Valparaiso, understood as a new space of confluence and integration, presents an underlying contradiction due to its original purpose as a prison: the hermetic reclusion of space. The main arhitectural problem lies in this singularity, and can be set as a basic question: how to turn enclosure into a integrating space (composition does not lie on answers but on what questions should be done (...) shifting from the responsability of choosing to the one of asking)

通过确认在现场发现的四种明显和重要的情况-每一种情况都变成了一个具体问题-一系列操作被设定为答案，每一项操作都发生在不同和相关的地形级别上。这种关系是从设计意志之外设定的，主观的和有偏见的，目的是使意图脱离运作：如果你失去了你的感官和需要说什么的想法，就会有很大的不同。只有当你脑子里什么都没有的时候，才会有好处。

Through the recognition of four evident and significant situations found on the site –each turned into a specific question- a series of operations are set as answers, each of them happening on different and relevant topographic levels. This relations are set outside from design wills, subjective and biased, to set intention out of operation: if you swich off your senses and the idea of needing to say something, is very different. Benefits only appear when you have nothing in your head.

 © Cristobal Palma

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水平平面图：地面清除花盆如何将密闭的监狱变成一个开阔的空间？

+00,0 THE HORIZONTAL PLAN: SURFACE CLEARANCE FLOWERPOT How can the dense prison be turned into an open space?

 © Cristobal Palma

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前监狱的遗址是一座有围墙的堡垒，四周环绕着石台、争论和墓地。鉴于以前的监狱及其作为山丘上最大水平表面的特殊情况，建议对多年来积累起来的所有轻型建筑进行全面清理，只保留修道院大楼、旧入口建筑和西班牙人的火药桶，使它们在这一新领域上处于突出地位。这一清场种植了一个定期的雅卡兰塔网-在这片土地上盖上一层面纱-还有一组岛屿，上面有塞博岛和木兰树-这将标志着一些突出的地方-有一个草地公园-将容纳大量的活动-只有很少的棕榈树-它们将进入主要入口-还有一组藤条-这些地方将成为重要的标志。回收拆除旧建筑的地下室作为公园的主要布置线。公园仍然被旧的围墙包围着，还有伴随和拥抱它的走道。地点变成瓦尔帕莱索山的花盆。

The former prison’s site shows as a walled fortress surrounded by stone platforms, contentions and cemeteries. Remarking the former prison and its special condition of being the largest horizontal surface over the hills, a general clearing of all the light constructions accumulated along the years is proposed, keeping only the prision gallery building, the old entrance building and the old spaniard’s powder keg, putting them on an outstanding situation over this new field. This clearance is planted with a regular grid of jacarandás –that will build a veil over the site- with a group of islands with ceibo and magnolia trees –that will landmark some outstanding spots- with a grass esplanade –that will house massive activities- with little palm groves –that will remark the main entrances- and with a group of barrows –that will recycle removed old construction’s basements as the main park arranging lines. Park remains enclosed by the old perimeter wall along with the walkway that accompanies and embraces it. Site turns into a flowerpot in Valparaiso hills.

 © Cristobal Palma

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03.00围：隔离墙切割地平线如何将监狱禁闭变成封闭？

+03.00 CONFINING PERIMETER: THE WALL CUTTING HORIZON How to turn the prison confinement into cloistering?

从一个重要的现有水平的乞讨，在墙的水平切口，在周界运行是提议的。从相关的墙壁水平画出一个新的地平线。在它的抽象中，它压制了对先兆系统和引用的任何引用，将潜在的约束转化为封闭。所有护卫走道、掩体和扶手栏杆的痕迹都被移除，把这堵墙变成了一个抽象的建筑，几乎没有实质性的问题。这一新的地平线-在其与内部水平的关系-产生了各种情况之间的修道院圈地和开阔的景观之间的山和海。

Beggining from a significant existing level, a horizontal cut in the wall that runs around the perimeter is proposed. From a relevant wall level a new horizon is drawn. In its abstraction it supresses any reference to prision sybols and references, turning the prision confinement into cloistering. All traces of guard walkways, shelters and hand-railings are removed, turning the wall into an abstract construction, taking it to a barely material problem. This new horizon -in its relation with inner levels- generate various situations that move between the cloister enclosure and open sights to the hills and the sea.

 © Cristobal Palma

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04.0之间的峡谷：新的方向长廊，如何建立一个关系的围墙内部和它的周围，向山头打开？

+04.0 BETWEEN RAVINES: NEW DIRECTION PROMENADE How to set a relation between the walled interior and its surroundings which opens towards the hills?

在新地平线的两个路口和卡塞尔山的斜坡上，出现了一种新的可能性，一条连接两边峡谷的新人行道。在这些点之间描述了一条新的线。一种散步，作为阳台，穿过公园，并与邻近的现有人行道网络有关。与邻近的山丘和历史保护区-如塞罗·阿雷格里和塞罗·康塞普西翁-建立了新的关系。这个新的方向在这个地方建立了一个新的智慧，这是第二条基本线，在它与潜在细胞建筑的关系中-具有相似的尺寸-重新排列空间，并将旧的西班牙人火药桶重新定位在新的中心。

In the two junctions of the new horizon and the slopes of Cárcel hill a new possibility appears, a new walkway connecting each side ravines. A new line is described between these points. A promenade that, as a balcony, crosses over the park and relates to the neighbouring existing walkways network. A new relation with the neighbouring hills and historical conservation zones -like Cerro Alegre and Cerro Concepción- is built. This new direction establishes a new wise on the site, a second foundational line that, in its relation with the prision cells building –with similar dimensions- reorders space and relocates the old spaniards powder keg at the new center.

 © Cristobal Palma

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12.0地理条件：新的城市飞机，Trestles和鞍座如何在公园上建造一个8.500平方米的文化中心而不带走公共开放的表面？

+12.0 GEOGRAPHIC CONDITION: NEW URBAN PLANE TRESTLES AND SADDLE How to build a 8.500m2 cultural center over a park without taking away public open surface?

 © Cristobal Palma

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按照尽可能解放公共空间并使公园面积保持在其总容量的想法，已建的方案从地面上提出来，并在公园上建造。允许这些结构-密封的和沉重的顶部-以一种温和有效的方式到达地面，几个长方形和穿孔的结构平面是以支架的方式提出的。这些结构将为更高层次的文化节目提供场所，并在其垮台时安排公共空间。把上面的地面延伸到树干上-一架在两侧峡谷之间摆动的飞机-一种在山腰上摇摆的马鞍，它与下面的公园-12米低-以及瓦尔帕莱索港的地理环境和海洋-建立了一种新的联系。文化中心之下的城市多用途高原。

According to the idea of liberating as much surface for public space as possible and keeping the park area to its total capacities, built programmes are lifted from the ground and built over the park. Allowing these structures –hermetic and heavy ontop- reach the ground in a mild and efficient way, a couple of oblong and punched structural planes are proposed in a trestle way. These sructures will house cultural programmes on the higher levels and will order the public space on their downfall. Extending the upper site level over those trestles a plane that swings between the side ravines is set, a sort of saddle over the hill loin that establishes a new relation with the lower park -12 meters down- and with Valparaiso’s harbour geographic context and the sea. A urban multipurpose plateau beneath where the cultural center is built.

这些活动，在其公共空间的多元化和他们自己的层次之间的关系，重新定位的围护，并提出了一个整合空间的公园，邻里和山丘。

These operations, in their public space multiplication and in the relation between their own levels, reorient the enclosure and propose a space of integration for the park, the neighbourhood and the hills.