架构师提供的文本描述。你还记得比尔·默里90年代的电影叫“土拨鼠日”吗？在电影中，每一天都是同一天，从早上7点开始，又一次地重新开始。严肃地说，这有时是疯狂的，但最重要的是，有机会建造三倍于确切楼面平面图的建筑。这一切都是从为同一个客户(马德里市议会)建造两个中心的不同寻常竞争开始的，预算和功能项目相同，但只有两个不同的地点。在这两种情况下，网站都是与匿名社会住房环境无关的环境。

Text description provided by the architects. Do you remember that Bill Murray’s movie from the nineties called “groundhog day”? In the film, each day was the same day and from 7am it started all over again, one time after another. Going seriously, it has been crazy at times but mostly rewarding to have the chance of building three times the exact floor plan. It all started with an unusual competition for doing two centres for the same client (Madrid’s city council), with the same budget and the same functional program but only two different sites. Sites were in both cases quite irrelevant environments with anonymous social housing surroundings.

 © Roland Halbe

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我们对这些初始条件的回答是采用“无地建筑”的构想。建筑无论在哪里发展，都需要一种形式上的功能自主感，为了强调内部的空间价值，我们采用了“对立统一”的勒柯布西耶思想。外部的封闭和沉重的形象先于室内的开阔和轻盈的空间。

Our answer to those initial conditions was to work with the idea of a “placeless building”. A great sense of formal+functional+conceptual autonomy was required to allow the building develop no matter where. To emphasize the spatial value of the interior, we resorted to the LeCorbusierian idea of “reconciliation of opposites”. The hermetic and heavy image of the exterior precedes the open and light space of the interior.

 © Raúl Belinchón

(Raúl Belinchón)

保健中心的方案在一个单一的底层得到广泛实施。节目的不同房间被组织在一个松散的不规则正交网格上，其中13个天井沿着三个平行的(非)走廊排列在公共和私人房间之间的一个曲折的模式。有一个不间断的视觉连续性，跨越内部和庭院，提供空间扩大。

The program for the healthcare centre is implemented extensively on a single ground floor. The different rooms of the program are organized on a loose irregular orthogonal grid, where thirteen patios are arranged in a zigzag pattern between the public and private rooms along three parallel (non)-corridors. There is a non stop visual continuity across interiors and courtyards that provides space enlargement.

 © Roland Halbe

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与这个由天井分开的轻系统相反，坚固而沉重的立面被认为是一个连续的无窗质量。由于外围护结构的垂直墙没有空隙，导致建筑内外的关系垂直发生，几乎与上面的天空联系在一起。玻璃面板没有定义露台，而是在建筑物外部外壳的水平表面上出现空隙，形成了一种垂直关系，允许产生各向同性室内空间。玻璃的透明度和镜像质量通过反射对称性创造了多种视觉效果。

In opposition to this light system, split up by the patios, the solid and heavy façade is conceived as a continuous windowless mass. The absence of hollows in the vertical walls of the exterior enclosure causes the relationship between the interior and exterior of the building to occur vertically, almost with the sky above. The glass panels do not define patios, but hollows in the horizontal façade of the exterior shell of the building, creating a vertical relationship that allows an isotropic interior space to be generated. The transparency and mirroring qualities of the glass creates multiple visions by reflected symmetry.

 © Raúl Belinchón

(Raúl Belinchón)

走廊消失了，不再以传统的线性连接结构存在，因为空间的“x”和“y”坐标之间的“x”和“y”坐标之间的交替排列使得空间的“x”和“y”坐标之间存在着微弱的关系。

The corridor vanishes, it ceases to exist as the traditional linear connecting structure, because the alternating arrangement of the empty spaces and public areas allows a weak relationship to exist between the “x” and “y” coordinates of space.

 © Roland Halbe

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圣布拉斯的中心是第一个建成的。混凝土模板的水平木板所形成的粗糙纹理强化了沉重的思想。相比之下，以鱼鳞图案铺设的蓝色瓷砖垂直墙的反光特性有助于创造一个宽敞而明亮的内部，就像天空被带进了大楼里一样。

San Blas’s centre has been the first one to be built. The idea of heaviness is reinforced by the rough texture formed by the horizontal wood planks of the concrete formwork. Put into contrast, the reflective qualities of the vertical walls of blue tile laid in a fish scale pattern help to create a spacious and luminous interior, almost as if the sky were brought inside the building.

 © Roland Halbe

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乌瑟拉的中心紧随其后，完成了混凝土、玻璃和瓷砖等材料为寻找身份而提供的工作机会。但是，在这一过程中，建筑公司出了问题，需要更换公司。金色金属皮是在施工过程中实现积极方向所需的前进战略，也是瓷砖颜色向白色转变的原因。最后，与San Blas相比，将室内空间理解为一个更加横向和抽象的空间是可能的。

Usera’s centre follows, completing the work chances that materials such as concrete, glass and tiles had to offer in search of identity. But something along the way went wrong with the construction company and a change of company was needed. A golden metal skin is the moving forward strategy needed to accomplish a positive direction in the construction process and also the reason for changing ceramic tiles colour to white. In the end, it is possible to read interior space as a more horizontal and abstract one in comparison to San Blas.

 © Roland Halbe

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排在第三位的是比利亚维尔德的中锋，这是他赢得另一场比赛的结果，运气在这场比赛中发挥了很大的作用。场地较小，具有较强的城市特色，但我们的平面图安装得非常完美，客户决定让我们再次成为赢家。最初项目中的一些老想法又出现了；如果我们试图用一个更轻巧的建筑系统来构建同样的空间方案，缩小对立面之间的距离，该怎么办？它有可能软化外部和内部之间的疤痕，使用的构造结构覆盖的面板，不透明，但抛光，半透明或透明。新材料需要新的规则，结果是更大气。孔过程一直是在使用，感觉和几何之间的挑战性研究，现在轮到你发表意见了。

The third of the row, Villaverde’s centre, is the result of wining another competition in which luck played a big role. The site was smaller and had a stronger urban character but the floor plan we had fitted just perfectly and the client decided to make us winners again. Some old ideas from the original project appeared again; what if we tried to build the same spatial scheme with a lighter construction system narrowing the distance between opposites. It was possible to soften the scar between exterior and interior by using a tectonic structure covered with panels, opaque but polished, translucent or transparent. New materials needed new rules and the result is more atmospheric. The hole process has been a challenging investigation between use, sensation and geometry; it is now your turn to make an opinion.

 Cortesía de Estudio Entresitio

Cortesía de Estudio Entresitio