架构师提供的文本描述。该提案代表并象征了布莱斯·因凡特广场以当代方式提供的新的中心地位。这个项目是从两个混合的尺度的二元性发展而来的：社区的规模，邻近的环境，和更大的规模，城市和它的历史中心。

Text description provided by the architects. The proposal represents and symbolizes the new centrality that Blas Infante Square offers in a contemporary way. The project is developed from the duality of the two scales that are mixed: the scale of the neighborhood, immediate environment, and a larger size, the city and its historic center.

 © Jordi Bernadó

乔迪·伯纳多

符合帽庞特地区及与历史中心的关系。

Conformance with the district of Cap-Pont and relationship to the historic center.

 © Jordi Bernadó

乔迪·伯纳多

为便于使用和直接的环境，已经建立了一个社区场所，一个休息、休闲、邻里关系的地方，其中包括阴凉处和长椅、游乐场、草地和花卉植被，这些地方都是沿着佩高拉的路线来保护夏季的。

For the use and immediate environment has been created a neighborhood place, a place of rest, leisure, neighborhood relationship, with shade and benches, playgrounds, grass and floral vegetation following the route of the pergola as protection for the summer.

 © Jordi Bernadó

乔迪·伯纳多

广场底部新建地下停车场的存在，使服务机制的整合成为项目的目标之一。这样电梯楼梯出口通风.。是塑料集成的元素与塔楼和珀戈拉，这已经计划整合的照明。同样的照明允许创造不同的环境，动态的空间，交流的空间，一些与更多的光，另一些柔和的照明与休息和宁静的阴影。公共空间不得不纵容用户。

The existence of a newly built underground parking at the base of the square has made the integration of service mechanisms unifying one of the objectives of the project. In this way the elevators, stairways exits, ventilation... are plastically integrated playing with the elements of the towers and the pergola, which have been planned to integrate the lighting. This same lighting allows to create different environments, dynamic spaces, spaces of communication, some with more light, others soft lighting with shades of rest and tranquility. The public space has to pamper the user.

 © Jordi Bernadó

乔迪·伯纳多

利伊达历史中心的令人印象深刻的地形，包括从La SeuVella大教堂(1204年)到山周围陡峭的街道，是几乎无处不在的参照物。我们假设一个平坦的正方形，它的坡度很缓，当它偏离河流的RIBA时，它就会上升。从这一公共空间中，整个老城展现了它的真实面貌，它的宏伟和冲突。这是一个有利的点，一个城市的极好的观点，呈现出一个美丽和自古以来。

The impressive topography of the Historic Center of Lleida, consisting of steep streets around the hill from the cathedral of La SeuVella (1204 AD) is the reference nearly ubiquitous. We assume a flat square with a gentle slope that is picking up as it deviates from the riba of the river. From this public space the entire Old City is shown as it really is, with its grandeur and its conflicts. It is a vantage point, an excellent viewpoint of the city, presenting a pretty and sincer.

这个项目是一个塑料提案。

The project as a plastic proposal.

我们在项目中始终有一个旅游伙伴，为城市地区的公共和文化空间提供一定程度的象征意义。诗歌“遥远的城市”(“La CiutatLlunana”)是由马吕斯·托雷斯于1939年为结束南北战争而写的。当它被写出来的时候，我们对那些安静的悲伤时刻感到很感兴趣。自从马吕斯·托雷斯在战争结束后写了关于利伊达的文章以来，已经过去了70年。他看到梦被掩埋了，每一次演讲，也许是关于和平的演讲，都失败了。他当时说，没有更多的安慰，相信和等待新的建筑，更自由的手臂，应该再次从地面上长大。被证明是40年的独裁统治。我们认为，适当的做法是把公共广场看作是意图的汇编，创作一些诗意的元素，这些元素以Lleida为背景，在没有这样的背景的情况下，代表着每天都在写的城市，现在比以往任何时候都更多地代表着所有公民。

We always have a travel partner in the project to provide a degree of symbolism to the public and cultural spaces in urban areas. Poetry "The distant city” (“La CiutatLlunyana”) was written by Marius Torres to end the Civil War, in 1939. We were interestd by those quiet moments of sadness when it was written. 70 years have passed since Marius Torres wrote about Lleida after the war ended. He saw that dreams were buried and every speech, perhaps of peace, had failed. He spoke, then, that there was no more comfort that believe and wait for the new architecture wich, with more free arms, should grow up from ground again. Prove to be 40 years of dictatorship. We believe it is appropriate to think of the public square fit as a compilation of intent, work some poetic elements which, with background Lleida, represent, without being so, the city that is written every day, now more than ever, of all citizens.

几何和地形。

Geometry and topography.

该建议在植物中被定义为一个以现有屋顶几何形状为宽度的区域，同时将另一个方向延伸到Segre河的分隔墙，越过瓦伦西亚街一侧的屋顶边缘，另一方面，以悬臂板的形式融化现有的倒角。在现有停车场的基础上，建立了一种人工地形，由两座金字塔的交叉口形成，该金字塔与塞格里河汇合，与周围街道的人行道以斜面、坡道或楼梯相连，从而延续城市路线。

The proposal is defined in plant as an area bounded in width to the geometry of the existing roof, while extending the other direction until it reaches the wall of separation of the river Segre, on the one hand, and over the edge of the roof in the side of Valencia street, and on the other hand, in the form of cantilever slab melts existing chamfers. Based on the existing parking lot an artificial topography is created, formalized by the intersection of two pyramids, which merges with the Segre river and connects with the sidewalks of the surrounding streets with inclined planes, ramps or stairs, thereby continuing urban routes.

 Courtesy of Domingo Ferré

多明戈·费雷(Domingo Ferré)