架构师提供的文本描述。该项目介于城市和自然景观元素之间，是通往城市和河流、国会大厅和公园的主要通道。该提案包括一栋大楼，容纳所有四所学校，以获得更大的体积，从而使建筑物反过来成为自然景观和城镇之间的门户。

Text description provided by the architects. The project is bound between both urban and natural landscape elements; the main avenue that leads out of the city and the river, the congress hall and the park. The proposal consists of one building that houses all four schools in order to obtain a larger mass of volume so that the building, in turn, becomes the gateway between the natural landscape and the town.

 © Pedro Pegenaute

佩德罗·佩佩诺特

该简介避免了传统的走廊和连续教室的形式。这些走廊的大小与它们的使用不成比例。它们对于任何共同的活动或社交来说都太窄了，但是对于流通来说太宽了。在这种形式下，走廊占据的门面比例也不成比例，因为走廊的门面数量与教室相同。

The brief avoids the traditional format of corridors and successive classrooms. There is a disproportion between the size of these corridors and their use. They are too narrow for any common activities or socializing, but too wide for circulation alone. In this format, the proportion of façade that the corridors occupy is also disproportionate considering that they have the same amount of façade as the classrooms.

 © Pedro Pegenaute

佩德罗·佩佩诺特

这些公共区域是大学建筑中最重要的空间之一，因为许多社会活动发生在教室外。因此，我们开发了一个广场式的概念，这样，就像一个车轮，连接点是系统的枢纽。然而，循环格式作为网关将失败。一个人沿着建筑物下面的路线穿过的距离永远是最长的。

These common areas are one of the most important spaces in a university building as a lot of social activity occurs outside the classroom. Therefore we have developed a plaza-type concept so that, like a wheel, the connecting point is the hub of the system. However, a circular format would fail as a gateway. The distance that a person would have cross along the routes below the building would always be the longest.

轮毂的几何形状由圆形转变为十字形质量.该中心仍然是一个枢纽和门户，因此，步行到它的距离是最小的。

The geometry of the hub is transformed from a circular to a cross-shaped mass. The centre remains a hub and gateway, and, thus, the distance walked to cross it is minimised.

 © Pedro Pegenaute

佩德罗·佩佩诺特

这条路连接着大学校园和国会大厅，他们共用部分设施。国会大厅有礼堂，但没有自助酒吧，大学校园有酒吧但没有礼堂。

The path connects the university campus and the congress hall, and they share part of their facilities. The congress hall has an auditorium, but no cafeteria-bar, and the university campus has a bar but no auditorium.

建立了一种对话方式，不仅在两栋建筑的用途之间，而且在两卷的物质性和几何学方面；国会大厅是由U-玻璃制成的棱镜，而大学校园则是用混凝土制成的更零碎的体积。

A type of dialogue is set up, not only between the uses of the two buildings, but also in the materiality and geometry of the two volumes; the congress hall is a prism made of U-Glass while the university campus a more fragmented volume made of concrete.

 © Pedro Pegenaute

佩德罗·佩佩诺特

这个几何学与周围的历史建筑相呼应：山顶的城堡和一座古老的教堂。该项目涉及自然和历史背景。体积的几何线与国会大厅和附近的住宅区平行。

This geometry echoes the historical buildings of the surroundings: the castle at the top of the hill and an old church. The project is related to both the natural and historical contexts. The lines of the geometry of the volume are parallel to those of the congress hall and the nearby housing blocks.

这座建筑反映了周围元素的比例。在后面，它承认国会大厅的高度，而在前面，它被缩小，以满足公园和河流。后方更多的是垂直和与城市/城市元素相关的硬元素。纵向空洞发出入口信号。

The building reflects the scales of the elements that surround it. At the back it recognises the height of the congress hall and at the front it is scaled down to meet the park and river. The rear is more vertical and hard relating to the city/urban elements. A longitudinal void signals the entrance.

 © Pedro Pegenaute

佩德罗·佩佩诺特

在前面，一个缩小和支离破碎的形式与河流和公园有关。横向空隙发出入口信号。当你进入大楼时，一个巨大的垂直中央空隙成为公园的延续，提供对角线景观和各层之间的关系。一个大楼梯井连接地面，在那里的公用区域，到第一层，所有的教室都在那里。

At the front a scaled down and fragmented form relates to the river and park. A transversal void signals the entrance. As you enter the building a large vertical central void becomes the continuation of the park, offering diagonal views and the relationships between the various storeys. A large stairwell connects the ground level, where the common use areas are located, to the 1st storey where all of the classrooms are located.

 © Pedro Pegenaute

佩德罗·佩佩诺特

公园以某种方式通过墙壁的绿色覆盖材料在建筑物内被人为地延续了下来。第一层有可能的最大周长，因为它遵循整个交叉形状的结构。这个交叉的每个部分都有大教室和小教室，以使整个楼层的组织结构合理化。所有服务都位于一个“技术波段”，作为声学滤波器和公共区域与教室之间的阈值。

The park is somehow continued artificially within the building through the green cladding material of the walls. The first storey has the maximum perimeter possible as it follows the entire cross shape of the structure. Each section of this cross has both large and small classrooms to rationalise the organisational structure of the entire floor. All the services are located in a “technical band” and serve as both an acoustic filter and the threshold between the common areas and the classrooms.

 © Pedro Pegenaute

佩德罗·佩佩诺特

人们聚集的流通区域和空间“利用这种双轴创造出类似街道和公共广场的空间，而不是走廊。一个可变的天花板高度有助于创造在街上的感觉。有些地区用作轻质井。当它接近公园时，部分碎片和上面的正面与较低层的内部正面重合。这样可以将自然光带到室内街道的尽头，从而加强对可变天花板部分的看法。

The circulation areas and spaces where people congregate “use this double axis to create spaces that resemble streets and public squares rather than corridors. A variable ceiling height helps to create the sensation of being in a street. Some areas serve as light wells. The section fragments as it approaches the park and the upper facades coincide with the interior facades of the lower storeys. This allows for bringing natural light to the ends of the interior streets, thus reinforcing the perception of the variable ceiling section.

 © Pedro Pegenaute

佩德罗·佩佩诺特

这个层次定义了整个建筑的结构，因为它是学生在课堂上或在课间聚集的时间的传递。当我们穿过大楼时，使用变得越来越私密：会议室和会议室位于二楼，行政和服务设在三楼。在三楼，立面与一个巨大的中央空隙相吻合，它是照亮主楼梯的光井。

This level is the one that defines the entire structure of the building, as it is where the students pass their time either in class or congregating between classes. As we rise through the building, the uses become increasingly private: Offices and rooms for meetings and seminars are located on the second floor, and the administration and services are located on the third floor. On the third floor the façade coincides with a large central void that serves as the light well that illuminates the main staircase.

因此，随着建筑物的上升，它的体积减少了。当它向后走时，它允许最大数量的自然光流入建筑物的中心。由于建筑物与周围环境的关系，需要重新思考典型的窗户外墙，并导致了一种类似柳条的皮肤的发展。这也承认了该地区的传统贸易，即柳条篮的制造，并将建筑与周围的柳条田联系起来。在允许光线进入的区域，我们只需拉伸柳条篮的纹理，使其不那么密集。

Thus, as the building rises its volume is reduced. As it steps back it allows for the maximum amount of natural light to flow into the heart of the building. The relationship of the building to its surroundings called for the rethinking of the typical façade of windows, and led to the development of a skin that resembles wicker. This also acknowledges the traditional trade of the area which is the manufacture of wicker baskets, and also relates the building to the surrounding fields of wicker. In the areas that allow light to enter, we simply stretched the wicker basket texture to make it less dense.

整个外墙都是用混凝土铸成的，只有两个模子。铸造面板的粗糙一面(没有柳条纹理的一面)被抛光，因此它就像一个与建筑物内部铺路有关的细水磨石。墙面面板的节奏是这样的，在每个房间的末尾，最后一个面板被省略了。这样可以清楚地看到周围的环境，每个房间的远墙变成了一个反射光线的面板。该项目作为一个模型化的空白，允许更近和更旋转的景观的连续性.

The entire façade is made of concrete cast in just two moulds. The rough side of the cast panel (the one without the wicker texture) is polished so that it resembles a fine terrazzo that relates to the interior paving of the building. The rhythm of the façade panels is such that at the end of each room, the last panel is omitted. This allows for a clear view of the surroundings, and the far wall of each room becomes a light-reflecting panel. The project as a moulded void that allows the continuity of the closer and turther landscape...