永恒的重复的想法是神秘的，尼采用它使其他哲学家感到困惑。”认为一旦一切都必须按照我们已经经历过的那样重复，甚至这种重复也必须重复到无限大。”

The idea of the Eternal Recurrence is mysterious, and with it, Nietzsche perplexed the other philosophers. “To think that once everything has to be repeated as we have already experienced it, and that even that repetition must be repeated to infinity.”

永恒复现的神话是说，一劳永逸地消失、不复存在的生命，就像影子一样，缺乏重量，提前死亡。

The myth of the Eternal Recurrence is to say, that a life that disappears once and for all, that does not return, is like a shadow, lacking WEIGHT, and is dead in advance.

如果我们生命的每一瞬间都会无限次地重复，那么我们就像耶稣基督被钉在十字架上一样，被钉在了永恒上。在永恒轮回的世界里，每一个姿态都承载着难以承受的责任之重。这就是为什么尼采把 “永恒复现 “的想法称为最沉重的负担。 难以忍受的存在之轻》，米兰-昆德拉（1984）。

If each instant of our lives will repeat itself an infinite number of times, then we are nailed to eternity, as Jesus Christ to the cross. In the world of the Eternal Recurrence, the WEIGHT of an unbearable responsibility rests on each gesture. That is the reason why Nietzsche called the idea of the Eternal Recurrence the heaviest of burdens. The Unbearable Lightness of Being, Milan Kundera (1984).

这是在Casa Velatoria入口处的一个非常小的干预，目的是产生一个庭院，除了作为一个过渡空间，还形成一个与天空接触的陪伴和思考的地方。这个空间为街道提供了一定程度的亲和力，并打算让每个参观者的视线几乎不可避免地朝上看，就像人们进入教堂时一样。在这种情况下，不是为了看壁画和圆顶，而是为了注意缺失，虚无。

It is a very small intervention at the entry of Casa Velatoria, with the objective to generate a COURTYARD, which in addition to being a space of TRANSITION, forms a PLACE of accompaniment and reflection, in contact with the SKY. A space that provides a certain degree of intimacy to the street and with the intention that each visitor directs their gaze upwards almost inevitably, as when one enters the church. In this case not to see frescos and domes, but to notice the absence, the VOID.

作品的重点是表现虚空，目的是赋予它也许是它最缺乏的东西，它的重量。虚空没有重量，但它确实有体积。空心的盒子，脱离了相位，有隐藏的支撑结构，似乎只是被支撑着，使对其稳定性的解读变得复杂。

The focus of the work is on the representation of the void, with the aim of giving it perhaps what it most lacks, its WEIGHT. The VOID does not weight, but it does have volume. The hollow box, out of phase and with its hidden support structure, seems to be simply supported, complicating the reading of its stability.

这个外壳作为一种可见的材料给不可见的东西以形状。它包含了看不见的东西，本质的东西，或者也许在一个相反的意义上，作为RAW材料的空洞产生了空间并同时赋予它形式。有限的生命，在不稳定的下面；然后是单调的，沉默的，缺席的和作为主角的天空。重的就是轻的，封闭的就是开放的，光滑的就是粗糙的，坚实的就是空洞的；存在的就是不存在的。

That shell as a visible material gives shape to the invisible. It contains what is not seen, the essential, or perhaps in a reverse sense, the void as RAW MATERIAL generates the space and gives it form simultaneously. The finite life, below the unstable; then the monotonous, the silence, the absence and the sky as the protagonist. What is heavy is light, what is closed is open, what is smooth is rough, the solid, hollow; what is present is absent.

Architects: Miguel Ortego
Area : 41 m²
Year : 2018
Architect In Charge : Miguel Ortego
Work And Management Team : Jorge Ortego
Builder : Jorge Balién
Client : Coopescrevi de San Gregorio Ltda.
City : San Gregorio
Country : Argentina