Lasesarre Football Stadium

This takes place on an almost rectangular shaped site planned by an autistic planning without any urban illusion, necessary in a de-industrialised city in hours of low self-esteem. The answer is a system of visual-emotional behaviours reflected in the shape of the building that houses them. On the one hand, the recovery of a continuous green space in which to play and sit surrounded by grass that blurs the disciplined boundaries between player and spectator. On the other hand, the multiplicity of ways of looking at height and distance and the distribution of groups of spectators and their control configure different stands with different folds, more inclined, narrower or with particularised insertions of the pitch for each one.

A series of self-contained mini-buildings without circulation between them appear, each with its own services and access, making them suitable for independent use. Its compact grouping within the plot forms a complex that can stop functioning for only one and a half hours a week as a male catharsis and makes possible partial rentals for weekly meetings of any group of the population that wishes to do so.

The four corners complete the distribution and, according to their different programmes, changing rooms, social club and facilities become new autonomous buildings with a particularised geometry. Without forgetting that the players have to work hard to keep the show going, a chromatic mirage resulting from the algorithmic combination of seven colours fills the stands with silent spectators.

The apparent unity of this whole battery of programmes is provided by the roof, a direct reflection of the internal organisation, permeable to the soft light of the site and cut out in the areas where the rain penetrates into the tiered gardens. The covering continues to the outside, protecting the exits of the stadium at the level of the stands at the entrances and closer to the ground in the street walkways, generating an arrhythmia that translates the general functioning into the external image of the building.

In this search to transmit an emotional message warning that we are entering another nature, we introduce a sensitive camouflage in the closed perimeter of the building, transferring the light variations of the forests by means of a system of vibrant steel pieces, permeable to vision and vandal-proof under the folds of the roof.

The accesses through this fictitious vegetal wall transport us to the alternative geography that controls the flows and stays of the spectators. A volume is thus configured with different lighting conditions that acts as a soft beacon at night, in the manner of the wrinkled Japanese lanterns, capable of etching the skeleton of the building in the darkness as a new illusionary emblem.