GARDEN OF 
SILHOUETTES

TACTILE PERCEPTION IN LANDSCAPE ARCHITECTURE
If in the opinion of Jean Paul Sartre, "Space has taken over time in human consciousness because of ocularcentrism", shouldn't Landscape Architecture be enriched again by tactile perception in order to recover, paraphrasing Marcel Proust, " the lost time?".  

TACTILE PERCEPTION IN CHILDHOOD: A STAGE FOR ACTION
From the very beginning, the landscape design of 'El Jardín' was proposed as a small but ambitious project where the vegetation went beyond the simple green filling of an outdoor space. In order to achieve this, the solution can only be through Landscape Architecture. Thus, it is possible to offer a complete proposal where the vegetation isolates the children from the outside, creating a magical place within the sinuous and colored walls of their school.  

THE ENTRANCE DOOR
There is a certain moment in the definition of the architectural work in which the skin of the exterior space and the skin of the interior space come together: the main entrance. It is in it, where the haptic aspects of vision reach their peak. The rhythm slows down and the feet stop for a moment, touching the skin of the man and the skin of the building. It is the most intimate moment of the meeting between man and architecture, where the landscape recovers its beginning.

RHYTHM AS A TOUCH EXPERIENCE
The cutting of the skin produces rhythm. Along the entire perimeter of the Garden's skin, the multiplicity of “silhouettes” is produced.  

THE FOLDED FLOOR
Folding the floor to define the height of the child, its small scale, makes it possible for us to perceive the space “with recollection below”: “space holds us in its hands”. A protective EPDM floor, against the possible falls of children, can also be so if, instead of being horizontal, it is subsequently arranged vertically. We can even cause said vertical surface to acquire volume by adopting the materiality of a continuous bench or a planter.