“.在炎热的太阳下(它们以太阳为食)，在阴凉处(它们以树荫为食)，或在太阳与阴凉处的边缘”H.Michaux

"... in the hot sun (they feed on the sun), in the shade (they feed on the shade), or in the borderline between sun and shade" H. Michaux

 © Iwan Baan

(Iwan Baan)

El“B”是这一漫长的建筑，是一个以遗产-连续性这里的一切都属于它，属于港口，我们应该说的任何港口：码头边缘(直)的完美直线，总是平静的海(平)，码头的人工水平面(平)，这平面(平面上的平面？)的可变背景是天空。所有这些都是基于一种技巧来代表最简单的-而且凭借它的简单，最自然，最巨大的人工-相当于最自然的平面。

El "B" is this long construction, a body, that feeds on the heritage -the continuity- of a site's treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea. Everything here belongs to it, belongs to the port, any port we should say: the immaculate straightness of the pier edge (straight), the invariably calm sea (flat), the artificially horizontal plane of the dock (flat), the sky as the variable background for this plane (plane on a plane?), all based on an artifice to represent the simplest -and by virtue of its simplicity, the most natural, the most immensely artificial- plane that equates to the most natural.

 © Iwan Baan

(Iwan Baan)

阿方索十二号码头有1000米长，正好有一公里长，我们可以假定我们在码头的尽头。一条20米宽的长条与边缘平行，受到建筑物的尊重。一个非常愉快的步行可以为城市沿着这条带，每天的游行沿着不变的边缘。事实上，这条长廊是我们所鼓励的；它是我们在建筑物中插入的东西，在一个维度的连续体中，似乎挖出了一个人造海滩，但实际上是历史的延续，因为旧的巴特尔海滩就在这里，就在这个地方。海港是人造的，不是海滩。

The Alfonso XII dock is 1,000 metres long, exactly a kilometre, where we can assume that we are at the end. A 20 metre wide strip runs the full length, parallel to the edge, which is respected by the buildings. A very pleasant walk can be designed for the city along this strip, a daily procession following the immutable edge. In fact, this promenade is what we encourage; it is what we insert in the building, in a dimensional continuum that seems to dig out an artificial beach, but is actually a continuity of history, because the old El Batel beach was right here, on this very spot. The harbour is artificial, not the beach.

 © Iwan Baan

(Iwan Baan)

这个填海的海滩坡道逐渐淹没了我们在水线以下，与码头的水平线作为一个经常性的参考。在这一点上，我们不再属于外部世界，开始属于我们自己，我们自己在散步，在为我们自己保留的210米尺度上工作。我们一直在与地面切割所产生的外部外观形成对比，我们继续利用码头的专政，但恰恰是在反对它。

This reclaimed beach-ramp gradually submerges us below the waterline, with the pier's horizontal line as a constant reference. At this point we cease to belong to the outside world and start to belong to ourselves, ourselves in movement, ourselves strolling, working on the 210 metre scale reserved site for ourselves. We have worked on the contrast with the outer facade produced by the cut at ground level, and we continue to make use of the dictatorship of the dock, but precisely in opposition to it.

我们拒绝包括海港美丽的正交单调；我们将港口的硬度排除在内陆之外，而是寻找完全相反的东西：半透明、精致、轻盈、水生；与路易吉·诺诺(Luigi Nono)定义的“水音乐空间”有关的东西。

We refuse include the harbour's beautiful orthogonal monotony; we exclude the hardness of the port from the interior, and instead, we seek something that is completely the opposite: translucent, delicate, light, aquatic; something that has to do with what Luigi Nono defined as "a space for water music".

 © Iwan Baan

(Iwan Baan)

这个项目的每一个组成部分和细节本身就是另一个项目，但由于每个项目都服从于其周围环境，它们都属于一个整体，不是寻求，而是推断，这就是塑造“B”特征的原因。

Each component and detail of this project is another project in itself, but, as each project, acting in obedience to its surroundings, all belong to both a whole, not sought, but deduced, which is what shapes the character of El "B".

所有的材料，包括铝和塑料，是由一个单一的挤压部分，不同的位置和颜色，以使外观多件。这些部分都是与桥墩边缘平行设置的，以强调水平的思想，并实现一个比现在更长的矩形，在这种情况下，它像一个“翻滚”(皱皱的甜甜圈)，只有在它的即时规模：总体上，它似乎是不同组件的积累的结果，整齐地堆放在码头上。对以前使用的记忆。

All the material, both aluminium and plastic, is manufactured from a single extruded section, varied in placement and colour to give the appearance of multiple pieces. These pieces are all set parallel to the pier edge to underscore the idea of horizontality and achieve an even longer rectangle than it already is, in this case extruded like a “churro” (wrinkled doughnut), only on its immediate scale: overall, it seems to be the result of an accumulation of different components, stacked neatly on the pier. The memory of a former use.

从表面上看，也是内在的，这是一个非常虚假的复合体，一个是另一个的对手，就像那些看起来非常安静但实际上由于中枢神经系统的持续运动而瘫痪的人一样。他们的对立明显地表现在上下层的共存上，这是一个完美的例子：他们之间没有一致意见。他们之间唯一的联系是，两者都在海港蓬勃发展，因为我们坚持认为，整个项目都是靠海港的想法和记忆而发展起来的，现在这里发生了什么，这里过去发生了什么。

Outwardly and also inwardly, this is an extremely false complex, one set as the antagonist of the other, like people who seem to be very quiet but are actually paralyzed by the continuous movement of their central nervous system. Their antagonism is clearly evident in the coexistence of the upper and the lower floors, a perfect example of anacoluthon: there is no agreement between them. Their only connection is that both thrive on the harbour, because, we insist, the entire project thrives on the idea and the memory of a harbour; what happens here now and what used to happen here.