©  Rafael Aspiunza

拉斐尔·阿斯通扎

这套专门用于划船和航海的亭子的位置是码头的末端之一，在通往河口的坡道前面，在环绕着码头的弧形防波堤和以阿雷卢兹灯塔结尾的码头之间。除了阿布拉外，人们还可以看到塞兰提斯山、阿波拉达河、长沙里河、卢塞罗角河和甘奈科塔山；因此，这是一个有着巨大城市风貌的地方，在项目拟定时，它被用作临时的露天停车场。

The location of this suite of pavilions dedicated to the practice of rowing and sailing is one of the ends of the Marina, in front of the ramp that descends to the mouth of the estuary, between the curved breakwater that encloses the Marina and the docks ending at the Arriluze lighthouse. From the site, besides the Abra, one can see Monte Serantes, the Arboleda, the Pagasarri, Punta Lu¬cero and the Ganekogorta; it is therefore a loca¬tion with a great urban presence that, when the project was drawn up, was used as an improvised open-air car park.

 ©  Rafael Aspiunza

拉斐尔·阿斯通扎

这里的目的是提出一项具有某种程度的平静和中立的建议，将海洋和船只作为真正的主角，并试图通过提出地平线、灯塔和桅杆作为视觉主题，使我们至少在这一领域忘记主导的混乱。

The aim here was to generate a proposal endowed with some degree of serenity and neutrality, with the sea and the boats as the true protagonists and seeking to make us forget, at least in this area, the dominant disorder by putting forward the horizon, the lighthouse and the masts as the visual motif.

 ©  Rafael Aspiunza

拉斐尔·阿斯通扎

将该节目分成两卷的决定，连同他们所站在停机坪上的地毯，都是为了创造一个高度密集的外部空间，增加其优越位置提供的可能性。这两个棱镜试图建立一个“遥远的对话”，连接他们而不是周围的景观，而不是建立的元素附近。每艘船所处的确切位置取决于坡道下降到水中的情况，以便于船只向海洋移动，反之亦然。

The decision to separate the programme into two volumes has the object, together with the rug of tarmac on which they stand, of generating a highly intense exterior space that boosts the possibilities provided by its privileged location. The two prisms seek to establish a “distant dialogue” that connects them rather to the surrounding landscape than to the built elements found nearby. The exact spot on which each one stands is conditioned by the situation of the ramp descending to the water, in order to facilitate the movement of boats to the sea and vice versa.

 ©  Rafael Aspiunza

拉斐尔·阿斯通扎

这两座建筑都有几个不同尺寸的室内空间，有不同的围护设施和适应要求：教室和更衣室，健身房，划艇的有盖机库，以及完全封闭的户外帆船操场。这种情况，加上填充的土地缺乏承载能力，决定了一个由金属外壳和外部木制格子组成的双层轻量级皮肤，在从内部过滤光线和视野的同时，给两个展台提供了组成和视觉连续性。

The two buildings boast several interior spaces of differing dimensions, with different enclosures and acclimatisation requirements: classrooms and changing rooms, gym, covered hangar for rowing longboats, to the open-air yard for sailboats that is totally exterior though enclosed. This circum¬stance, together with the lack of load bearing ca¬pacity of the infilled land, determines a double lightweight skin composed of a metallic enclosure and an external wooden lattice that gives consist¬ency and visual continuity to both pavilions while filtering the light and the vistas from the interior.

 floor plan

可接近的外墙外壳由银质夹层板构成，拧在镀锌钢结构上，并与聚碳酸酯面板和金属铝框架结合在一起，而该套外部外壳已覆盖在由水平松木制成的板中，高压蒸压着铜盐，用叠层松木固定在立式立管上，并贴在其底部和顶部的结构上。位于三明治式外壳和木质板条之间的空间的底部是防水荧光灯，带有色彩，戏剧性地照亮了这两卷书所形成的建筑群，把它们变成了一个灯塔，成为码头夜行的地标。

The accessible façade enclosures are formed from sandwich panels in a silver finish, screwed on to the galvanised steel structure and combined with polycarbonate panels and metallic aluminium frames, while the suite of external enclosures has been clad in panels composed of horizontal pine¬wood slats autoclaved with copper salts, screwed on to vertical risers in laminated pinewood, affixed to the structure at its base and crown. Situated in the bottom part of the space between the sandwich-type enclosure and the wooden slats are watertight fluorescent luminaires with a colour fil¬ter that theatrically illuminate the complex formed from the two volumes, transforming them into a beacon that has become a nocturnal landmark in the Marina.

停机坪上的棱镜试图与大海和寂静结对，留下休闲中心的“噪音”。

The prisms on the tarmac seek to become twinned with the sea and the silence, leaving behind the ‘noise’ of the leisure centre.

 ©  Rafael Aspiunza

拉斐尔·阿斯通扎

该建筑群的建成，几乎是戏剧性的夜间照明，强调其抽象的性质。

The complex is completed with the almost theatri¬cal night-time lighting that emphasises its abstract character.