© Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

新帕拉多尔的建造是一个漫长的团队进程的结果，这一进程源于帕拉多尔·德图里斯莫的倡议，即组织一场竞赛，召集一批西班牙建筑办公室。Turismo Paradors de Turismo在一个困难和微妙的地点寻找一个标志性的建筑解决方案，例如El Colegio de Santo Tomás的老建筑群。从16世纪开始，这座建筑群一直在使用(最后作为一所女性监狱)，直到最近，它被火摧毁并被遗弃。

The building of The New Parador is the result of a long team process originating from the initiative of Paradores de Turismo to organize a contest that convened a selected group of Spanish architectural offices. Paradores de Turismo searches for an emblematic architectural solution in a difficult and delicate location such as The Old Complex of El Colegio de Santo Tomás. Dating from the 16th century, the Complex was in use (lastly as a female penitentiary) until very recently, when it was destroyed by fire and abandoned.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

这一新的帕拉多尔背后的项目受到了国家和国际建筑界的广泛欢迎，在纽约现代艺术博物馆的“现场”西班牙当代建筑展览上达到了顶峰。

The project behind this new Parador has been widely welcomed in both national and international architectural arenas, peaking at the “On Site” exhibition on Spanish Contemporary Architecture at The Museum of Modern Art New York MOMA.

El Colegio de Santo Tomás的旧建筑群由一座教堂和邻近的修道院组成，遵循西班牙修道院建筑的标准方案。与建筑相连，受到原寺院砖墙的限制，空间被用来容纳花园和种植区。

The Old Complex of El Colegio de Santo Tomás is composed by a church and an adjacent cloister following the standard scheme of the monastic Spanish architecture. Attached to the building and limited by the original monastery brick walls, the space was used to accommodate the garden and cultivation area.

完成的工作战略性地恢复了修道院建筑与之相关的花园空间之间的二元性。正是这个前提激发了竞赛的建议口号：建造一座雕塑花园，在那里，帕拉多尔人所需的新建筑不超过古代围墙的高度，并延伸到一个巨大的穿孔花园之下，这个花园由多个不同的庭院雕刻而成，构成了一个有趣的空间目录，延伸到相邻的房间。

The accomplished work strategically recovers this duality between the monastic building and the garden space linked to it. And it is this premise that inspired the proposal slogan presented to the contest: to construct a SCULPTED GARDEN, where the new building required for the Parador does not surpass the height of the ancient perimeter wall, and extends under a vast perforated garden, sculpted by multiple and diverse patios forming an interesting catalogue of spaces to the adjacent rooms.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

我们意识到，参加比赛的项目有很大的成功潜力，因为组织者对新建筑在受保护的历史环境中的形状和插入表现出了极大的关注。我们的提议隐藏了不可避免的新酒店建筑，位于种植园之下，以及修道院与城市之间隔开的墙壁后面。在恢复的同时，埃尔科雷吉奥·德·桑托·托马斯(El Colegio de Santo Tomás)古建筑群的足迹。

We were aware that the project presented to the contest had a great potential for success, since the organizers had shown a great concern about the shape and the insertion of a new building amid the protected historical surroundings. Our proposal concealed the unavoidable new hotel building under the cultivation garden and behind the walls separating the monastery from the city, while recovering at the same time the footprints of The Old Complex of El Colegio de Santo Tomás.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

在一座老建筑的存在下，我们创造了一种新的气氛。旧建筑必须以我们当代背景文化的机制和语言重新呈现(再一次回到现在)。这不仅仅是恢复或翻新的问题，而是恢复活力的问题。我们接触了El Colegio de Santo Tomás，因为医生已经准备好治愈和恢复病人。应用新的架构移植，解决了现有的病理问题。当代建筑的新碎片就像针刺一样，用来振兴这座被肢解的老建筑-古老的有机体。

In the presence of an old building, we create a new atmosphere. The Old Architecture must be RE-PRESENTED (brought back once again into the present) with mechanisms and languages of our contemporary background culture. It is not just a matter of restoring or renovating, but of revitalizing. We approached El Colegio de Santo Tomás as doctors ready to heal and recover the patient. Applying GRAFTS of new architecture, the existing pathologies were solved. New fragments of contemporary architecture worked as acupuncture needles to revitalize the old organism, the dismembered building.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

从El Colegio de Santo Tomás继承下来的建筑已恢复到原来的状态，随后进行了当代的干预，其基础是寻找有助于评价和突出原有存在的对比和差异：废墟和玻璃、木材和金属、黑暗和光明(light…)。

The inherited architecture from El Colegio de Santo Tomás has been restored to its original state, followed by an intervention of the present time, based on the search of contrasts and differences that help value and highlight the pre-existences: the ruins and the glass, the wood and the metal, darkness and light…

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

我们的工作时间是双重的：旧的和新的，在一个持续的建筑和建设性决定的渐进过程中，完成了发现的老建筑的遗骸。在埃尔·帕拉多尔·德阿尔卡拉的建筑中，我们是通过分层的方式运作的。在一种近乎浪漫的修复观点中，废墟-来自过去的碎片-由于当代材料构成的新元素的存在而得到了加强。再一次实现了对比：对象背景。

We have worked in a double timing: old vs. new, in a progressive process of continuous architectural and constructive decisions, completing the discovered remains of the old building. In the building of El Parador de Alcalá, we have operated by layering. In an almost romantic view of restoration, the ruins - a fragment from the past – have been enhanced by the presence of new elements made of contemporary materials. Contrast is once again achieved: OBJECT-BACKGROUND.

 Floor Plan

与此形成鲜明对比的目标，修道院已被收回，关闭了它的拱门新木架从拱门石灰缸，因此使用目前的语言。在平行的过程中，在主楼梯的空间插入了一个新的立方体，连接了修道院的两层。这个新的黑色金属立方体振兴并赋予继承的原始空间字符。

With this contrasting aim, the cloister has been recovered, closing its arcades with new timber frames stepping back from the arches stone ashlars, hence using a present language. In a parallel procedure, a new cubic volume was inserted in the space of the main staircase, which connects the two stories of the cloister. This new black metal cube revitalizes and gives character to the inherited original space.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

由于需要容纳一个大面积的接待室和餐厅，我们复制了先前存在的修道院，从而获得了由两个露台隔开的三个接待厅，这最终可以作为室内空间的扩展。新修道院呈现金属当代外观与工业金属网格，作为“修道院”过滤器之间的这一新的庭院和外部。

The need to host a large area for reception and dining rooms led us to duplicate the pre-existent cloister, hence obtaining a sequence of three reception halls separated by the two patios, which in turn can eventually be used as an expansion of the indoor spaces. The new cloister presents metallic contemporary facades with industrial metallic mesh lattices, which work as “monastic” filters between this new patio and the exterior.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

在19世纪末，还有两座线性建筑，当时该建筑被用作军事总部。这些都描绘了大拱廊和大窗户在正面，这些需要保存，因为保护的地位的建筑物。

There are as well two linear constructions remaining from the late 19th century, when the building was used as military headquarters. These depict big arcades and large windows in the facades, which needed to be preserved due to the protection status of the buildings.

不过，在保留支撑前墙及两者之间的空间后，可更换屋顶，以优化较高楼层的使用。我们使用了从旧墙壁上投射出来的L型设计元素，再一次在原有的砖块与新的玻璃和钢之间进行了戏剧性的对比。在后立面，一个新的不断变化的皮肤被展示，作为一个过滤器的房间，这是保护从附近的雕塑花园的视野。

Nevertheless, after preserving the supporting front walls and the space between them, the roofs could be replaced to optimize the use of the higher floors. We used L-schemed elements that project from the old walls, working once again the dramatic contrast between the pre-existing brick and the new glass and steel. In the back façade, a new evolving skin is displayed, operating as a filter for the rooms, which are protected from view from the near-by sculpted garden.

 © Hisao Suzuki

(3)铃木久雄(Hisao Suzuki)

采用的展示大型绿色花园和露台表面的解决方案，总是与酒店客房相联系，回应了一种意愿，即提供一个绿色和横向的新环境空间，而不是竖直的立面塔楼。总之，新帕拉多尔试图成为一个网站，尽管它忠于最初的痕迹，却能够提供一个全新的空间和情感世界。邀请客人更好地了解修道院和露台的修道院世界-阿尔卡德·赫纳雷斯的城市建筑所固有的世界-并为现代当代建筑的理解扫清道路。

The adopted solution of displaying large green garden and patio surfaces, always linked to the hotel rooms, responds to the will to offer a new environmental space both green and horizontal vs. a vertical façade tower building. To summarize, The New Parador seeks to become a site that, although loyal to its original traces, is able to offer a whole new world of spaces and emotions, inviting guests to better understand the monastic world of cloisters and patios – a world inherent to the city architecture of Alcalá de Henares - and clearing the path to a modern contemporary understanding of Architecture.