架构师提供的文本描述。谈到维莱斯-卢比奥(Velez-Rubio)，不可避免地要提到景观对这个群体的重要性。从Murcia-Granada高速公路上，Velez-Rubio出现在Maimon的一侧，在母亲的保护下，在与La Muela山顶的对话中，她受到母亲的保护，不受巨大山脉的影响。必须指出的是，我们说的是一个充满启示的地区，例如发现了著名的Abrigo或Cueva de los Letreros，该地区位于山脉Sir de Maimon Grande的一侧，那里有“Indalo”(代表Almeria的拟人化人物)、“El Brujo”或“El Hechicero”等绘画，都住着。1998年12月，教科文组织宣布Los Velez的洞穴画为艺术/文化遗产。

Text description provided by the architects. On speaking about Velez-Rubio it is inevitable to refer to the weight the landscape has on this population. From the motorway Murcia-Granada, Velez-Rubio emerges on the side of Maimon, as a child protected by her mother against the immensity of the grandiose mountain range of Sierra María, in dialogue with the peak La Muela. It must be pointed out that we are speaking of a territory full of revelations, like the discovery of the well known Abrigo or Cueva de los Letreros, located at the side of the mountain range Sierra de Maimon Grande, where paintings like the “Indalo” (anthropomorphic figure which has come to represent Almeria), “El Brujo” or “El Hechicero”, among others, are housed. The cave paintings of los Velez were declared artistic/cultural heritage by the UNESCO in December 1998.

在一个大自然如此浩瀚，充满细微差别和反差的地方，这只是一个观察钥匙的问题，它决定了建筑的体积和服装。概念像地球和雪，亮度和不透明度，光和阴影，银和棕色的…确定使用钢作为材料使用，并在其表面处理的某些细微之处。Corten钢生锈的外观解释了地球，而镀锌钢的金属外观则体现了冰雪和天空的闪光。随着时间的推移而获得的帕蒂纳将融合、混合和玷污这些元素之间的反差，从而使建筑物的皮肤自然老化而不会失去其特性。

In a place where the immensity of nature is so impressive, so full of nuances and contrasts, it was only a question of observing the keys that would determine the volume and the clothing of the building. Concepts like earth and snow, brightness and opacity, light and shadow, silver and brown…determined the use of steel as material to use, with certain nuances on its surface treatment. The rusty appearance of Corten steel interpreted the earth and the metallic appearance of galvanized steel materialized the glitter of the snow and the sky. The patina acquired with the passage of time will fuse, mix and stain the contrasts among these elements so that the skin of the building will age naturally without losing its identity.

 © Jesús Granada

(Jesús Granada)

乍一看，健康中心像一个无定形的体积，没有任何具体的形状，以与山峰一样的方式出现。这座建筑是由在周围环境中漫步或漫游的人发现的，它将在钢片中露出裂缝、空洞和雕刻的洞穴。为了强调体积中的空心和雕刻，使用了不同的颜色、符号和文本。这将使游客识别出进入大楼的不同地点，作为包装皮肤打开的区域，并宣布内部情况。在建筑物周围行走成为一个永久的惊喜，尽管不断重复的像素效应的皮肤上的外观。我们可以说，建筑物的外部有着无限的面孔和无限的瞬间，受到阳光、灯光和阴影的影响，来来往往的人，或者那些平静地使用广场公共空间的人。在洞穴的内部，最明亮和特权的空间是留给那些等待他们的任命。

At first sight the Health Center emerges as an amorphous volume, without any specific shape, in the same manner as a mountain peak. The building, as discovered by the person who walks or wanders through its surroundings, will reveal its fissures, hollows and carved caves in the steel piece. To emphasize hollows and carvings in the volume, different colors, symbols and texts are used. This will let visitors identify the different points of access to the building as areas where the wrapping skin opens and announces the interior. Walking around the building becomes a permanent surprise, despite the constant repetition of the pixel effect on the skin of the facade. We could say that the exterior of the building has infinite faces and infinite moments modified by the impact of the sun, the lights and shadows, the people that comes and goes or those that placidly use the public space of the piazza that gives access to the building. In the interior of the cave the most luminous and privileged spaces are reserved for those who await their turn of appointment.

 © Jesús Granada

(Jesús Granada)

但是这种无定形的体积响应于一个有计划的、功能性的组织。建筑的概念产生于严格的决定因素，比如建筑表面的极限，最大偏差为4%。这种类型学需要自己的标准(构建表面=有用曲面x 1.53-系数-)。房间的表面积也有限制，其形式、位置和关系由安达卢西亚地区这类中心的设计指南规定。所以我们决定建立一个灵活的系统，让这类建筑具有身份。我们脱离了部分或区域之和的概念，严格遵守程序和的规律，根据亲和力，序列和事件寻找，就像一个系统产生一个活的实体，凝固在一个无定形的体积中。我们说的是通过一个单一的包装方式的零件包装的方式，支持和保护骨骼和软组织，减少疼痛，肿胀和肌肉痉挛。结果是一个无定形的体积，是张和钉一个包裹。

But this shape of amorphous volume responds to a planned and functional organization. The idea of the building arises out of strict determinants, like the limitation of the built surface with a maximum deviation of 4%. This typology requires its own standards (built surface= useful surface x 1.53 –coefficient-). There is also a limitation on the surface area of the rooms, conditioned in their form, position and relation by a design guide for this type of centers in the region of Andalucia. So we decided to generate a flexible system that would give identity to this type of building. We departed from the notion of the sum of the parts or areas strictly abiding by the program and the law of the sum according to affinity, sequences and events looked for, just like a system generating a living entity solidified in an amorphous volume. We speak of the packaging of parts through one sole wrapping in the manner of a rod that supports and protects the bones and soft tissues, reducing pain, swelling and muscular spasms. The result is an amorphous volume that is tensed and stapled by one wrapping.

 © Jesús Granada

(Jesús Granada)

这种比较是以一种激进的方式假设的：杆是包含程序的组织，通常是分段的。从外表上看，它的外观是令人困惑的。通风所需的开口是通过多孔扩散的。

This comparison is assumed in a radical manner: the rod is the tissue that contains programs often sectorized. From the outside, its appearance is confusing. The openings needed to ventilate the rooms are diffused through porous perforations.

这个包装应该忠实地展示这个地方的景观，这在本质上是城市与自然的融合。这创造了一个连续的皮肤，包裹着建筑，由两种处理方式形成的金属面板的随机分布模式：Corten和镀锌钢。设置在相同宽度和两个标准长度(1或2米)的单张中，只有配置(打开或关闭)有所不同。在正面的空隙上，不透明的薄片被两种有两种尺寸孔的穿孔板所取代。这个简单的机制，简单的规则，给包装寻找一个生机勃勃的效果银(雪天)和生锈的橙色棕色(地球)融合的方式与材料组成的山区背景。

This packaging should faithfully show the landscape of the place, which in essence fuses the urban with nature. This creates a continuous skin that wraps the building defined by a pattern of random distribution of metallic panels formed by two types of treatment: Corten and galvanized steel. Set in sheets with the same width and two standard lengths (1 or 2 meters), only the disposition (open or close) varies. On the hollows in the facades, the opaque sheets are replaced by two types of perforated sheets with holes of two sizes. This simple mechanism with simple rules gives the wrapping a searched-for vibrant effect of silvers (snow-sky) and rusty orangey browns (earth) fused in the same manner as the materials that compose the mountainous background.

 © Jesús Granada

(Jesús Granada)

这一制度的选择给建筑提供了其他类型的素质，如缺乏规模和时间。立面的解决方案给建筑物的真实尺寸带来了混乱，即它使它看起来很大，尽管它只有两层楼。真正的规模出现在建筑物与人、车辆或任何其他不同维度的物体相互作用的时刻。随着时间的推移，锈病会浸湿路面，在预制片之间滋生绿苔和苔藓，这些预制片水平地设置在一个与金属皮连续的图案中。

The election of this system gives the building other types of qualities, such as lack of scale and patina of time. The solution of the facade offers confusion to the real dimension of the building, that is, it makes it look big despite the fact that it only has two floors. The real scale appears at the moment in which the building interacts with a person, a vehicle or any other object of a different dimension. With time, the rust will bathe the pavement, will breed verdigris and moss in between the prefabricated pieces set horizontally in a pattern continuous with the metallic skin.