架构师提供的文本描述。Baeza镇项目在一段时间内被视为一个单元，是一个不断变化的过程，新的设计被认为是一个额外的地层，是建筑所创造的最后一层沉淀物。对建筑时间过程的思考是基本的。

Text description provided by the architects. The Baeza Township Project has been read as a unit in a duration, as a constant change process where the new design has been thought as an additional stratum, as the last sediment layer in time the building has created. The thought about the temporal process of architecture is fundamental.

 © Fernando Alda 

(费尔南多·阿尔达)

历史建筑是建立在重叠的基础上，积累了许多不同的过去，可以被称为建筑的杜里(durée)。亨利·柏格森(HenriBergson)说，终极实相不是存在，也不是不断变化的存在，而是他所称的持续变化的过程。建筑有一种存在于时间的方式，一种持续的变化，一种本身就是实质的改变。

Historical architecture is based on overlays, accumulating many different pasts in what could be called the «durée» of architecture. Henri Bergson said that the ultimate reality is not the being, nor the changing being, but the continuous process of change which he called «durée» or duration. Architecture has a way of being in time, a becoming that lasts, a change that is substance on its own.

 © Fernando Alda 

(费尔南多·阿尔达)

持续时间和连续变化的过程意味着一个溶解过程，减法，加法，突变，或随着时间而改变所有建筑组合的用途。Baeza镇项目与建筑概念Durée交织在一起。它的设计思想是考虑场地的附加条件，以质量变化作为工程的实质，及时地作为建筑物特征的一部分。

The rythm of the duration and of the successive changes connotes a dissolution process, subtraction, addition, mutation or a change of uses that befalls all architectural ensembles through time. The Baeza Township Project is entwined within the concept of architectural «durée». It is designed thinking about the additive condition of the site, in the quality of change as the substance of the project and as a part of the character of the building in time.

 © Fernando Alda 

(费尔南多·阿尔达)

感知/记忆的混合状态使我们把物体看作一个连续体，作为关系节点。因此，当我们思考，设计或建立我们的记忆-也是持续时间-被铭刻在物体和建筑上，成为一种记录时间的方式。人在每一个被操纵的物体上的印象-物质或推测-使我们处于一个时间的位置，因为当我们建造、堆积、粘合或浇灌时，我们改变了物质的地质、工业或诗意时代，使其人性化，使其成为我们的，给它留下深刻的印象-当我们在其中深刻地感受到它时-

The mixed state of -perception/memory- is what makes us see objects as a continuum, as relationship nodes. Thus, when we think, design or build our memory –which is also duration- is imprinted in the objects and architecture becomes a way of inscribing time on matter. Man’s impression in every manipulated object –material or speculative- sets us in a place in time because as we build, pile, glue or pour we change the geologic, industrial or poetic time of matter humanizing it, making it ours, giving it –as we impress our vital time in it - a human breath.

 © Fernando Alda 

(费尔南多·阿尔达)

我们如何理解这座历史建筑？

How do we understand the historic building?

答案慢慢上升；我们认为建筑是一个碎片-几乎是一根树桩-它是一个包裹在自身中的元素，没有能力去暗示、创造或定义自己的结构。他们的策略是清理建筑物的增建物，接受这座历史建筑作为一个未完成的碎片，并用新的建筑包围它。

The answer rose slowly; we think of the building as a fragment –almost a stump-, as an element enwrapped in itself, with no ability to suggest, nor create, nor to define its own structure. The strategy was to clean up the building’s additions, to accept the historic building as an unfinished fragment and to envelop it with new construction.

 ground floor plan

历史建筑-碎片-并没有创造出一座新的建筑；它是城镇的逻辑，它产生、包围和包裹着现存的碎片；它是自发的城市成长，是它的庭院的有机结构，它拥抱着它。

The historical building –the fragment- does not create a new building; it is the town’s logic which generates, encloses and wraps the existing fragment; it is the spontaneous city growth, the organic structure of its patios what hugs it.

有三部分。

There are three parts.

办公楼楼梯是大楼新部分最重要的单元。从概念上讲，它是由天窗(南北)照亮的“巴洛克式”楼梯。就好像我们闭上了眼睛，可以想象西班牙伟大的教堂和大教堂里砖石的格子和关闭，这些教堂和教堂将大门的关闭与金色的覆盖、振动、灯光和阴影混合在一起。

The office building staircase is the most important unit of the new part of the building. In concept it is a “baroque” staircase illuminated by skylights (north and south). It is as if we closed our eyes and could envision the lattices and the closures of the masonry in the great Spanish churches and cathedrals which mix the clear closings of the gates with the golden coverings, the vibrations, the lights and the shadows.