架构师提供的文本描述。我从“建筑协会出版社”开始，我前往莱温特，我将到达马斯帕明约。有一本1989年的书，“西格德·刘易斯1885-1975”(Sigerd Lewerents 1885-1975)。“古典主义的困境”由“建筑协会出版社”出版，封面是一幅有趣的印象，来自刘易斯教堂的墙碎片是用砂纸制成的。这本书有一种黑色和粗糙的纹理，不友好，但令人难以置信的美丽，展开在图书馆的白色桌子上，我第一次看到它：矿物纸，像圣马克和圣彼得墙。

Text description provided by the architects. I start with the “Architectural Association Press”, I go towards Lewerents and I will arrive to Masrampinyo. There was a 1989 book, “Sigurd Lewerents 1885-1975. “The Dilemma of Classicism” published by the “Architectural Association Press” with its cover made of an intriguing impression of a wall fragment from one of Lewerents churches made of sandpaper. The book had a black and rough texture, unkind to touch but unbelievable beautiful, unfolded on the white table of the library where I saw it for the first time: mineral paper like St. Mark and St. Peter walls.

前两本由彼得和艾莉森·史密森(Alison Smithson)写的手工书，左边出现了莱温兹(Lewerentz)的照片，一边抽烟一边开始说话，叫做“沉默的建筑师”(The Silent Archit在这个“安静的社会”中，有Pikionis、Melkinov、Eames Archittors、Coderch、Max Bill、Ralph Erskine等人，现在我想知道，如果这篇文章是1989年以后写的，会发生什么。

The first two handmade books written by Peter and Alison Smithson, with Lewerentz picture appearing on the left, smoking and beginning to talk, called “The Silent Architects”. From that “quiet society” with members such as Pikionis, Melkinov, Eames Architects, Coderch, Max Bill, Ralph Erskine among others, now I wonder what would had happen if the article had been written after 1989.

 via Jordi Surroca

经佐迪苏罗卡

安静的建筑师安静的建筑砂纸。

Quiet architects, quiet buildings, Sandpaper.

砂纸屋顶是教堂迫击炮纹理的回声吗？或者，这是否是因为期望从完成粗糙和未贴标签的相当的架构中冒险呢？像酒精一样难以吞咽吗？或者它是用砂纸做的，因为这本书想说，莱温兹是试图软化现代建筑并删除新生原型的草率和残酷方面以实现马特对象的建筑师之一？

Is the sandpaper roof evocative as an echo of textures of the churches mortars? Or, is it speculative because expects venture from that quite architecture that finishes being rough and unlabeled? Is it difficult to swallow, like some alcohols? Or it is made of sandpaper because the book wants to say that Lewerentz is among the architect who tries to soften modern architecture and remove the hasty and brutal aspects of the newborn prototypes to achieve matt objects?

 via Jordi Surroca

经佐迪苏罗卡

但是同时又保存了最后的处理，也许是因为他们不想要属于那些拥有干净的、光洁的地址的对象家族的人，因为他们失去了使用…的操作的温暖。我相信史密森发现了这些建筑师的指导方针，并在当代建筑中用另一种方式来描绘。

But at the same time saved the last treatment, perhaps because they do not want that finish belonging to the family of the objects with clean-cut and polished address that lost the warmth of the manipulation that worked them… I believe that Smithson discovers this guideline in the way of these architects and portrayed with them another way in the contemporary architecture.

 via Jordi Surroca

经佐迪苏罗卡

所有这些都是这样的：在这个粗糙的屋顶上，给他提供了第一个为年轻人设计的小型住房竞赛的模型，这个模型现在已经在蒙卡达一世雷萨克(Montcada I Reixac)的马斯帕明约附近完成了。该项目几乎是按每层走廊的规律，将两部分分成两部分的立方体体积，即左右两块，一些大窗户，将较小的窗户分组，并在一楼上方有一个折叠的立面。为42个最小细胞的节目制作的面具裙。

All this come into it: in that scratchy roof finished giving him topic to the first scale model for the contest of small housing buildings planned for young people, that now has been finished in the neighborhood of Masrampinyo in Montcada I Reixac. The project barely is a cubic volume cut in two pieces, to the right and to the left hand, following the law of the aisles of each floor, some big windows that put into groups the smaller ones and a folded façade over the ground floor. A mask-dress made for a program with 42 minimum cells.

 via Jordi Surroca

经佐迪苏罗卡

我在“马斯帕明约”中看到了这种冲动的无意识痕迹，它在当时甚至是车间的物体上停止了建筑，并保存了制造时刻的振动。它已经建成或者是它即将到达的目的地，避免了“产品”所具有的那种奇怪的条件。

I see in the Masrampinyo pictures the unconscious trace of that impulse that stops architecture at the time in which is even a workshop object and conserve the vibration of manufacture moment. And it has been built or was its imminent destination, avoiding that stranger condition that “the products” have.

分组拆散，调整其规模，并控制建筑物的大小，直到它看起来更接近它是什么。位于郊区一块地块的角落里的房子，我们总能从拐角处的缩影中感觉到这一点。青铜色砖，金属黑色框架，保持浮动的皮肤，并显示白色的内饰的利基。

To group and break up to adjust its scale and to manipulate the size of the building until make it seem more intimate of what it is. A house of houses situated in the corner of a plot located on the outskirts and that we always finish perceiving from foreshortened figures that pivot on the corners. Bronze colored bricks, metallic black frames that maintain floating this skin and show the white interiors of the niches.

 via Jordi Surroca

经佐迪苏罗卡