Five Towers in San Sebastian

Every person from Donostia has learned to relate space and time, nature and memory, from childhood when they climbed to the rock of the whaler of Mount Ulía, gazing into infinity. Todo donostiarra ha aprendido a relacionar espacio y tiempo, naturaleza y memoria, subido de niño a la roca del ballenero del monte Ulía, perdida la mirada en el infinito. From the first moment we knew, when we had to approach the Sagües project, that the problem was not how to relate with the Mompás part, or how to end the pedestrian circuit from “el peine del viento” with an impossible and erroneous symmetric solution. In fact, it was not about “finishing” but expanding it, opening the city to infinity, to memory, to the depths of the Cantabrian Sea, to the sky, to the interior of the mountain, to the salty air, to Mount Ulia, to the landscape… Desde el primer momento supimos, al afrontar el proyecto de Sagües, que el problema no era acercarse a la parte del Mompás, cerrar el circuito peatonal desde “el peine del viento” con una imposible y errónea solución simétrica. De hecho, no se trataba de “cerrar” sino de expandir, de abrir la ciudad al infinito, a la memoria, a la profundidad del Cantábrico, hacia el cielo, al interior de la montaña, al aire salino, al monte Ulia, a Pasajes… Open it in space and time, extend and protect the privileged relationship that the city has established since its foundation between nature and artifice, making it even more intricate and varied, making the hydrangeas of Mount Ulía accessible as had never been imagined, making accessible the Cantabrian Sea 365 days a year, completing that magnificent artificial construction that is Gros since its origins, appropriating the water, the sky and the earth to memorably complete the fabric of public and natural spaces in San Sebastián.