架构师提供的文本描述。当我们研究建筑的过去时，记忆，甚至糟糕的记忆总是扭曲和飞翔，…是的，制作一个故事，选择音调、节奏、口音，这是一个自然与马德里老屠宰场的集体记忆共存的故事，另一份早期报道称，新的应用程序专门用于电影，同时蜷缩在他们自己反复出现的迷恋…的遗忘中。

Text description provided by the architects. Memory, memories, even bad memory always twist and fly when we work on architectural past, … yes, make a story, choose the tone, cadence, rhythm, accents, a story that naturally coexist with collective memory of the old slaughterhouse of Madrid, with another early report of new application dedicated to the movies while curled up with the forgetfulness of their own recurrent obsessions…

 © Fernando Guerra | FG+SG

费尔南多·格拉

影片的神奇背光和对比，以及朴素和技术人类无限几何图形的童年魅力，都是感觉三角…。剩下的就是围绕着这种气氛，这种感觉，并建设性地定义它。布里克兰的构造历史，旧屠宰场强有力的修辞是背景，也是故事场景中的人物。在这个故事中，一个连续的低背景，一个用深灰色漆成的木质单材料定义了新的程序部署在墙壁，地板和天花板上，让故事和历史清晰地分开。在这黑暗的地毯背景下，我自己的记忆输出一个浮动的数字，一些巨大的充满活力的篮子，确定了主要空间。

The magical backlight and contrast of the films, and the childhood fascination of basketry and technical human infinite geometries are the sensory triangle… the rest is to surround in spiral this atmosphere, this feeling, and define it constructively. The tectonic history of brickland, the powerful rhetoric of the old slaughterhouse is the background, and also figure at the scenes of the story, a story in which a continuous low background, a wooden monomaterial painted in dark gray defines the new program deployed on walls, floors and ceilings, allowing a clear separation between story and History. Against this dark carpet background, my own memory outputs a floating figures, some huge vibrant baskets that define the main spaces.

 © Fernando Guerra | FG+SG

费尔南多·格拉

电影档案馆区域被一个可渗透的篮子覆盖，巨大的，可步行的，滤光和工作的灯，一个巨大的形象，一个温和的橙色软管编织无限。决定电影室的篮子是黑色的。在主房间，橙色背景照明使篮子漂浮，直到电影开始，背景消失，只有一个充满活力的黑色表面停留。在这间小小的投影室里，黑色太空舰队上有一个挂满篮子的槽，几乎是黑色的木头，只有当你打开一扇窗户时，才会让人眼花缭乱。因为眼睛和感知的极限最终才是电影史上真正的主角。

The Film Archive Area is covered by a permeable basket, huge, walkable, that filters light and works as a lamp, a huge figure of a modest orange hose knitted infinitely. The Baskets that define Film rooms are shades of black. In the main room the orange background illuminated make the basket float until the movie begins, the background disappears and only a vibrant black surface stays. In the small projection room, a basket-banked trough very black on black space fleet almost black wood, only when you open a window dazzles the eye. Because the eye and limits of perception are ultimately the real protagonists of this history of cinema.

 © Fernando Guerra | FG+SG

费尔南多·格拉

这是一场建设性的结构性战斗，一场捍卫沉默和隐藏历史的战斗。而辩护是违背病理报告，不信任历史的厂房，不明白砖厂和砖厂喜欢被指控的…更快乐更有凝聚力的…它的逻辑总是一个稳定和力量的问题。

There is a constructive and structural battle, a battle to defend silent and hidden history. And to defend it is to disobey the pathology reports that distrust of the History of the factory building, do not understand that the factories of brick and masonry love to be charged… are happier and more cohesive… and that its logic is always a problem of stability and strength.

 © Fernando Guerra | FG+SG

费尔南多·格拉

依靠这些不可重复的砖墙和石灰砂浆，干预解决了程序所需的大量垃圾邮件。水平结构采用钢筋混凝土板，其与既有砖墙双向工作，形成一套完整的竖向承重墙，通过宽厚的布墙分散工作。这些墙的基础是加固过载电池，在阶梯砌体基础的垂直投影下，微桩略有倾斜。

Relying on these unrepeatable walls of solid brick and lime mortar, the intervention has solved the great spam required by the program. The horizontal structure has been solved with reinforced concrete slabs, whose two-way working with the existing brick walls make a complete set of vertical load-bearing walls, distributing efforts through the generous cloth walls. The foundations of these walls was reinforced overloading batteries slightly inclined of micropiles penetrating under the vertical projection of stepped masonry foundations.

 © Fernando Guerra | FG+SG

费尔南多·格拉

结构分解后，一条灰色的松木地板连续地毯覆盖着墙壁、地板和天花板，构成了新的空间建筑。在这黑暗的木材背景下，单材料编织篮子，框架由弯曲的钢管制成，作为几何学的保证，并与传统的工业灌溉软管编织。

Upon resolution of the structure, a continuous carpet of grey painted pine flooring covers walls, floors and ceilings defining the new architecture of space. Against this dark wood background, the monomaterial woven baskets, frames made of bent steel tubing as the guarantors of geometry, and woven with conventional industrial irrigation hoses.

 © Fernando Guerra | FG+SG

费尔南多·格拉

由先前存在的构造所确定的空间、木材的黑暗背景和篮子中的人物需要在引进这些设施时故意保持沉默。对新鲜空气的巨大需求，需要柏拉图和电影，需要一个巨大的行为，被埋在地下，大部分这些地役权。

The spaces defined by the tectonics of the preexisting, the dark background of wood and the protagonists of the baskets figures required a deliberate silence on the introduction of the facilities. The enormous demand of fresh air that require the Plato and the Cinemas need a huge conducts that gets buried under ground most of these easements.

 © Fernando Guerra | FG+SG

费尔南多·格拉

没有这么大的通风要求的区域，例如大堂、办公室和循环系统，都是通过地板下的供暖/冷却系统来解决的。照明是故意混乱的，避免了我们被我们的法规推到的反常和可悲的同质性。鳞茎丛生在墙上观看舞蹈…编织的LED条纹减轻了篮子和下面的空间。

The areas without such large ventilation requirements, such as lobbies, offices and circulation areas are solved with underfloor heating / cooling systems. The lighting is deliberately disordered avoiding the perverse and sad homogeneity to which we are pushed by our regulations. Clusters of bulbs view dances in the walls… stripes of woven LEDs lighten the baskets and the space underneath.

 © Fernando Guerra | FG+SG

费尔南多·格拉