架构师提供的文本描述。有形创造了一件形式上的作品，无形的定义了它的价值-老子。

Text description provided by the architects. The visible creates a work in form – the invisible defines its worth- Lao Tse

在加泰罗尼亚大师安东尼戈迪(AntoniGaudí)的重要作品“SagradaFamilia”的阴影下面对一个建筑工地，是建筑师生活中的一个独特机会。我们非常清楚，这种独特的现代主义风格-被解读为加泰罗尼亚版的“新艺术”-受到超现实主义的影响，反映出大自然中有机元素的五颜六色的装饰品，以及大教堂的大胆结构，代表了巴塞罗那城与弗兰克·格根海姆毕尔巴鄂博物馆(Frank Gehry‘s Guggenheim Museum)一样的巨大吸引力。

To be confronted with a building site in the shadow of the “SagradaFamilia“ a key work of the Catalan master AntoniGaudí, is an unique opportunity in the life of an architect. We were perfectly aware that the particular modernist style – to be read as a Catalan version of Art Nouveau - influenced by surrealism, the colorful ornaments reflecting organic elements taken out of nature, as well as the daring structure of the cathedral, represents for the city of Barcelona the same overwhelming attraction as the Frank Gehry`s Guggenheim Museum for Bilbao.

 © Stefan Müller

斯特凡·穆勒

我们还知道，我们不会像城市里的许多酒吧和酒店那样，仅仅用“trencadis”(一种破碎的瓷砖拼凑而成)覆盖建筑物的一些表面，模仿戈迪(Gaudí)的工匠们的一种典型技术。我们的回忆必须是更有效的，作为对他的建筑方法原则的妥协的赞扬，在我们的时代，这些原则仍然应该是有意义的。我们该怎么做？

We also knew that we would not just cover some of the surfaces of the building with the “trencadis”, a patchwork of broken ceramic tiles, as a lot of bars and hotels in the city did, imitating a typical technique of Gaudí´s artisans. Our reminiscence had to be a more effective as a compromised tribute to the principles of his architectural approach, which should still be meaningful in our days. How should we do it?

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我们在戈迪对自然的热爱中找到了答案，因为他的建筑实践中最鼓舞人心的力量。他的柱子不是像树一样弯曲吗？曾经参观过他在Paseo de Gracia大道的杰出住宅“La Pedrera”的人知道，他的大部分公共空间都是用一部色彩交响曲来画的，这让人想起夏天和秋天，画在树林叶上的画布上。

We found the answer in Gaudí´s devotion to nature as the most inspiring force to his architectural practice. Aren´t his columns bending like trees? Who had visited once his outstanding residential building “La Pedrera” at Paseo de Gracia-Avenue, knows that most of his public spaces are painted in a Symphony of colors that reminds summer and autumn, painted on woods leafs as canvas.

 © Stefan Müller

斯特凡·穆勒

SagradaFamilia的突出原则之一是其复杂的计量模块系统，它为整个建筑提供了明确的秩序，也是戈迪死后，即使没有充分的规划文件支持，其他人也可以继续他的遗产的原因。这位有远见的大师表现出了对细节的执着，而这正是如今建造宏伟建筑的可行性的关键所在。

One of the outstanding principles of the SagradaFamilia is its complex system of measuring modules which confers a clear order to the whole building and is the reason why, after the death of Gaudí, others could continue his legacy, even without a sufficient support of planning documents. Visionary, the master showed an apple-minded obsession with details, which is nowadays resulting as a key to the feasibility of the grandiose building completion.

 © Stefan Müller

斯特凡·穆勒

老子告诉我们：“地球上所有的大事都开始变小了。”

“Everything big on earth always starts being small”, as Lao-tse told us.

按照我们强悍的邻居的指引，我们肯定接受了在我们的设计中集成斐波纳契系列，这个系列在数学上定义了树木生长过程中树干、树枝和树枝之间的比例。从中央庭院开口的节奏中可以看出，遵循抽象秩序的知识过程并不一定与形式的意志不相容。生动的构图与大教堂塔的内部有着惊人的相似之处。

Following the guide-line traced by our overpowering neighbor, we definitely accepted to integrate in our design the Fibonacci-series, which mathematically define the proportions in nature, let´s say, between trunk, branch and twig during the growing of a tree. As may be observed in the rhythm of the openings in the central courtyard, the somehow intellectual procedure of following an abstract order is not necessarily incompatible to the will of form. The lively composition shows an astonishing likeliness to the interior of the cathedral-towers.

 © Stefan Müller

斯特凡·穆勒

作为整合自然动画色彩的当代方式，我们在窗玻璃上贴上了LED-闪电元素的细纹。由于LED的电脑协调，它甚至有可能复制一种“Gesamtkunstwerk”，把声音和光的效果结合起来，比如Vivaldi的“QuattraStaggioni”和四部巴洛克协奏曲引起的颜色变化。这只是一种当代的方式，以实现戈迪所希望的无所不包的艺术形式，谦逊地追随大师所击败的道路。

As a contemporary way of integrating the animated colors of nature, we attached fine stripes of LED-lightning elements edgeways to the window panes. Thanks to the computerized coordination of the LED´s, it´s even possible to reproduce a sort of “Gesamtkunstwerk”, combining sound and light effects, like Vivaldi´s “QuatroStaggioni” with the changing colors evoked by the four baroque concertos. It´s just a contemporary way to attain the all-embracing art form intended by Gaudí, humbly following the path beaten by the master.

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我们对历史背景的认识，我们作为建筑师，在我们看来，应该与谦逊齐头并进。从这个意义上讲，经过几个月的研究和模型建设，我们终于了解到，我们试图把正式的主人身份和技术复杂性转移到我们公司，从前面提到的“La Pedrera”住宅的外观进行形态研究，这是我们无法企及的。

Awareness of the historic context, we are acting as architects should, in our opinion, go hand in hand with modesty. In this sense, after several months of studies and model-building in the studio, finally we understood that the formal mastership and technical complexity we were trying to transfer to ours, in the way of a morphologic study from the façade of the formerly mentioned residential building “La Pedrera”, was out of our reach.

 © Stefan Müller

斯特凡·穆勒

我们也不愿意考虑是否努力调整酒店统一的结构网格，以适应在帕西奥·德·格雷西亚(Paseo De Gracia)的代表人物中插入的一颗新艺术宝石(Art Nuveau Jewel)的压倒性表现力，但对于梅塞纳(Maecenas)，这个项目的发起人居尔伯爵(Count G我们也没有能力像戈迪在他那个时代所做的那样，把这种努力的批评者击倒在地。对于这一延伸，这无疑是一种好奇，著名的“佩德雷拉”最初服从于巴塞罗尼亚公众的嘲弄，把这座建筑描绘成一个采石场。

Neither we were willing to consider the effort to adapt the uniform structural grid of an hotel to the overwhelming expressivity of an Art Nouveau Jewel inserted in the Paseo de Gracia representative but conventional facades, for a Maecenas as it was Count Güell, the promoter of the project. Nor we had the architectural power to smash to the ground the critics of such an endeavor, as Gaudí did in his time. To this extension, it is certainly a curiosity that the celebrated “Pedrera” originally obeyed to the mockery of the Barcelonese public, which depicted the building as a stone quarry.

 © Stefan Müller

斯特凡·穆勒

我们在最初的设计态度中发现了最初的困难，帮助我们制定了我们的建议，采用了外观的常规痕迹，这是建筑在1860年由土木工程师IldefonsCerdá设计的总体规划的特征图案。尽管即将到来的工业家作为技术革命的主角被拒绝，但由于其平等的网格并不能满足他们将城市作为新经济秩序的一面镜子的想法，但它是由西班牙马德里中央政府强加给巴塞罗那市政府的。

The initial difficulties we found in our first design attitude helped us to discipline our proposal, adopting the regular traces of the façades which are the characteristic pattern of the “Eixample”, built on the master-plan designed by the civil engineer IldefonsCerdá in 1860. Although rejected by the upcoming industrialists who were the protagonists of the technical revolution, due to its egalitarian grid which did not satisfy their idea of a city as a mirror of the new economic order, it was imposed by the Spanish Central Government of Madrid to the Municipality of Barcelona.

目前，CerdáPlan被认为是一个先驱项目，因为它有效地解决了实际交通需求，并在街区内建立了受保护的住宅区。巴塞罗那的居民感到舒适的生活在其合理的组织街道和统一和坚实的美，他们的外观符合加泰罗尼亚人的保留性格。

Nowadays, Cerdá Plan is recognized as a pioneer project, due to its effectiveness resolving actual traffic needs and to create protected residential areas inside the blocks. Barcelona inhabitants feel comfortable living within its rationally organized streets and the uniform and solid beauty of their facades fits well to the reserved character of the Catalan People.

这就是为什么我们喜欢把酒店整合到这个传统的设计方案中，以更加保守的方式应用当地的设计规范，忠实地尊重开口的比例和距离，但我们仍然觉得很有吸引力来表达这样一个事实：在一个中产阶级的身体里，它在跳动着一个充满灵感的色彩和声音交响乐的庭院的旺盛的心脏。

That is why we liked the idea of integrating the hotel into this traditional scheme, applying the local design code in an even more conservative way, respecting faithfully the proportions and distances outlined for the openings, but still we felt appealing to express the fact that inside a bourgeois body it was beating the vigorous heart of a patio filled by an inspiring symphony of colors and sounds.

 © Stefan Müller

斯特凡·穆勒

在一个简单而有效的姿态，我们打破了相邻的客房之间的石板，填补了薄薄的石板贴在夹层玻璃板上的空白，这些措施是通过Fibonacci系列来衡量的。白天不透明，它们在夜间变得半透明，就像游客点亮房间的顺序一样。因此，立面成为建筑活动的生动展示。

In a simple but effective gesture, we broke up the stone panels between adjacent guest apartments, filling the void with thin alabaster tiles attached to laminated glass slabs, which measures were scaled by the Fibonacci Series. Opaque during the day, they become translucent at night, following the sequence of the visitors lighting their rooms. Therefore the facades become the animated showcase of the building’s activity.

这只是另一个有利条件，我们可以在世界著名的国际旅游百科全书附近建造一个项目，我们只需把我们的建筑部分用在原有地块的小坡上，就可以在街区内部创建一个公共广场，从底层的酒店酒吧进入。在公共空间投资融资方面，我们允许沿着内通道拆除破旧和被忽视的两层建筑，使其建筑面积达到酒店建筑的顶部。

It is only another vantage for the challenge of raising up a project in the neighborhood of a world famous incunabula of international tourism that we were allowed, just adopting the section of our building to the slightly slope of the preexisting plot of land, to create a public plaza in the interior of the block, accessible from the hotel bar at the ground floor. In the counterpart of financing the investment for the public space, we were permitted to demolish the shabby and neglected two-storey constructions along the inner passage, bringing their floor area up to the top of the hotel building.

 © Stefan Müller

斯特凡·穆勒

通过这样的操作，不仅可以在SagradaFamilia的高处建立一个屋顶露台，还能看到令人惊叹的景色，但进入酒店购物中心，游客就会意识到纪念碑的强大存在。我们希望相信，在这个准确的时刻，不稳定的感觉会转变成一种持久的体验，因为我们的建筑、它的装备和内在的现实，在一个对历史和地方有意义的位置上进行了定位。

By this operation, not only a roof terrace with breathtaking views on the heights of the SagradaFamilia could be created, but yet entering the hotel mall the visitor becomes aware of the powerful presence of the monument. We wish to believe that in this precise moment volatiles sensations are transformed to an enduring experience, due to an effort of locating our building, its outfit and inner reality, in a meaningful position towards history and place.