架构师提供的文本描述。我们受命在罗萨里奥独立公园规划一个游乐园的基础设施。设计了两个展馆和城市设备。其中一个展馆是公共洗手间、办公室和更衣室，另一个是室外厨房和举办聚会的休息室。

Text description provided by the architects. We were commissioned to plan the infrastructure of an amusement park in The Independence Park of Rosario. Two pavilions and the urban equipment were designed. One of the pavilions is a public restroom, offices and dressing rooms for the personnel; while the other one is an outdoor kitchen and a lounge for hosting parties.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

这两座建筑物之间有矛盾。洗手间的展馆高高耸立，看上去飘浮着，呈现出幽暗的灯光。另一个像植物一样，有从土壤中升起的树干。

There is a contradiction between the two buildings. The Restroom Pavilion is elevated and appears to be floating, showing the vagueness of its light. The other one has a grounded presence of trunks raising from the soil, just as plants do.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

我对这个网站的第一印象是，光芒四射和树荫下的黑暗形成了鲜明的对比，它把这个地区变成了一个虚幻的夜晚，就像马格里特在“光明的帝国”系列中所做的那样，他探索了白天和黑夜的同时出现。另一方面，放牧的光似乎是通过茎的垂直追逐观察者。这个项目在这个介于光明和阴影之间的游戏中是有意义的。

The first impression I had of the site was the outstanding contrast between the luminosity of daylight and the darkness in the shade of the grove that turns the area into an unreal night, in the way Magritte’s paintings do in the series “The Empire of the Lights”, in which he explored the simultaneous appearance of day and night. On the other hand, the grazing light seems to be chasing the observer through the vertical of the stems. The project makes sense in this play between the light and shade.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

连接周边和支撑屋顶板的柱子是由Quebracho树的树干制成的。虽然他们有手工制作的外观，我们认为这些硬木木材是预制的，即使这是大自然的作品。板是简单地支持由干线和锚定在墙壁在其一端。在这种结构中，分隔隔板悬挂在屋顶上，以增加重量和稳定性。这样，重量不再是一个问题，而是成为解决办法。在室内，任何东西都没有接触到地面，甚至连水槽的排水沟也会在离地面几厘米的地方停下来，以便自由地排水。柜台和储藏室的地板紧贴着“钢筋混凝土窗帘”。

The posts that line the perimeter and support the roof slab are made of trunks from Quebracho trees. Though they have a handcrafted appearance, we consider these hard-wood timbers as prefabricated, even if it is the work of nature. The slab is simply supported by the trunks and anchored to a wall at one of its ends. In this structure the dividing partitions hang from the roof to increase the weight and stability. This way the weight is no longer a problem, rather it becomes the solution. In the interior nothing touches the floor, even the sink drains stop a few centimeters from the ground in order to drain freely. The counters and the storage room’s floor are wedged against the “reinforced concrete curtains”.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

建筑物在上下文中消失，树干与附近的树林混合，只有平板的直线似乎悬挂在树叶和树干之间，这是人类干预的唯一迹象。

The building disappears in the context, the trunks blend with those of the nearby grove and only the straight line of the slab appears to hang between the foliage and the trunks, as the only sign of human intervention.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

即使是最简朴的房子，也是平原上的一个褐斑，也会随着花环和气球的颜色而改变。忽视社会阶层和不平衡的预算，花环是花环，气球是气球，无论它们在哪里，都是庆祝的明确标志。

Even the most modest house, a brown spot in the plain, transforms with the colors of garlands and balloons. Ignoring social classes and uneven budgets, garlands are garlands and balloons are balloons, wherever they are, the unequivocal sign of celebration.

 section 02

section 02

当灯笼微弱的光芒试图引导一个人穿过黑暗时，亭子小心翼翼地点亮了公园的入口。这样，我们打算给项目的这个部分分配一个新角色，这个部分通常是隐藏的。

As the faint glow of a lantern attempts to guide one through darkness, the pavilion discretely lights the entrance to the park. This way, we intended to assign a new role to this part of the project, which is usually hidden.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

钢筋混凝土结构用U字形玻璃包裹，唯一的表现形式是结构本身.由于使用了这种半透明玻璃，这种结构的内部布局允许隐私和流通的清晰可见度，这使得区分轮廓和外部成为可能。

A reinforced concrete structure enclosed with U-Profile glass, the only expression is the structure itself. The interior layout of this structure allows both privacy and a clear visibility of the circulation thanks to the use of this translucent glass, which makes it possible to distinguish silhouettes from the outside.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

已浇筑的混凝土在建筑物内外都没有经过任何修整。Quebracho水槽的混凝土和红色与玻璃和不锈钢的闪亮表面形成鲜明对比，它们充当着镜子、混合图形和背景；就像Magritte的绘画“人类的状况”中的那样。

The cast in place concrete is left without any finishing both outside and inside the building. The concrete and the red of the Quebracho´s sinks are in contrast with the shiny surfaces of the glass and stainless steel acting as mirrors blending figure and background; just like in Magritte’s painting “The Human Condition”.