© João Morgado

̃o Morgado

架构师提供的文本描述。设计理念

Text description provided by the architects. Design concepts & site conditions

早在2010年，Óbidos市就发起了一场国际建筑竞赛。竞赛的目的是为Óbios科技园设计中央建筑和主广场，这是一种新建的建筑结构，用于分配创意公司。

Back in 2010 the Óbidos Municipality launched an international architectural competition. The aim of the competition was to design the Central Buildings and Main Piazza for the Óbidos Technological Park, intended as a start-up built structure to allocate creative companies.

 © João Morgado

̃o Morgado

科技园遗址位于ÓBIDOS郊区，这是一座历史悠久的小镇，位于里斯本以北约100公里处。

The Technological Park site is located in the outskirts of Óbidos, a small and beautiful historic town located approximately one hundred kilometres north of Lisbon.

ÓBIDOS地区的特点仍然是森林和小农舍之间主要是农村和平衡的安排，铺好的路面以几乎随机的方式在这片土地上铺开。指定建造ÓBios科技园主建筑和主广场的地块使用了以前位于A8公路建设主要供应地的地方，该地点今天连接里斯本和该国北部。

The Óbidos region is still characterised by a mainly rural and balanced arrangement between forest and small agricultural premises, where paved surfaces spread trough this territory in an almost random way. The plot designated to build the Óbidos Technological Park main building and main piazza uses the place where before was located the main supply site for the A8 highway construction, that today links Lisbon to the north of the country.

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该设计战略提出了一个解决方案，试图扭转在这一地区正在进行的路面过程，通过一个解决方案，试图扭转这一逻辑，尽可能增加绿色表面。除了设计一座建筑，采用的策略还试图创造一个景观对空间结构起决定性作用的地方。

The design strategy proposes a solution that tries to reverse the ongoing pavement process in this territory, trough a solution that tries to reverse the this logic, increasing as much as possible the green surface. More than designing a building, the adopted strategy tries to (re)create a place where landscape is determinant for the spatial structure.

设计还涉及竞赛项目，奇怪的是，该项目要求在农村中部建立一个科技园的主广场。这个程序前提是引起一些设计怀疑的原因。如何在这独特而又美丽的乡村中间建立一个广场？如何设计(画)一个没有城市结构的广场和不断发展的这样的地方？

The design also dealt with the competition programme, which, in strange way for us, was asking for a main piazza for a technological park in the middle of the countryside. This program premise was the reason to arise some design doubts. How to create a piazza in the middle of this particular and still beautiful countryside? How to design (draw) a piazza without an urban fabric surrounding and evolving such place?

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无论是由于在城市结构内谈判的低谷时间，聚集了所有相关的功能-住房、商业、手工艺等等-如威尼斯的圣马可广场，或作为一种巴洛克式的象征设计，如在普拉克̧a dórcio，在里斯本，或甚至在罗马的́rcio广场，那里的广场是以前的房地和规划之上的实际几何图形。广场作为一个概念，与符合和塑造其界限和目的城市境界是分不开的。在设计过程中，关于几个广场的形状、用途和几何学以及对项目场地的可能适当性的研究是一个相当奇怪和强迫的解决方案。那么，如何画一个没有城市的广场，没有它的发电机城市结构？这种设计困惑，试图设计一个没有城市结构的广场，是寻找和尝试寻找替代公共空间的一个关键因素。因此，设计策略改变了，并试图寻找其他类型的欢乐空间，谁可以达到预定的公共领域，而不设计这样的广场。

Either as a result of negotiation trough time within the urban fabric convenes an all range of associated functions - housing, commerce, crafts, etc - as seen in Piazza San Marco in Venice, or as a baroque symbolic design as in Praça do Comércio in Lisbon or even as in Piazza Navona in Rome where the piazza overlaps is actual geometry on top of earlier premises and programes. The piazza, as concept, can not be separated from the urban realm that conforms and shapes its limits and purpose. The study concerning the shape, uses and geometry of several piazzas and the possible adequacy to the project site emerged during the design process as a quite strange and forced solution. So, how to draw a piazza without a city, without its generator urban fabric? This design perplexity, the inadequacy of trying to design a piazza without a urban fabric, as been a key factor to look and try to search for alternative public spaces. So, the design strategy shifted and tried to search for other kind of convivial spaces who could achieve the intended public realm without designing a piazza as such.

 Ground Floor Plan

在葡萄牙乡村的几个地方，仍然有一些有趣的公共空间叫做“Terreiros”。这些聚落或小村庄的特点是，从一种几乎没有建筑物环绕的无形中形状，到由小型建筑完全整合和进化的地方。

In several places of Portugal’s countryside still exist some interesting public spaces called “Terreiros”. Characterising some settlements or small villages, those convivial spaces range from a kind of formless shape almost without buildings surrounding them, to places completely integrated and evolved by small constructions.

我们发现，以一种非常有趣的方式，“Terreiros”，那些大的自由空间，实际上是相当有效的公共空间，尽管它的边界往往是不固定的。

We found that, in a quite interesting way for us, the “terreiros”, those kind of large free spaces, where in fact quite effective public spaces despite its often formless borders.

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在这些非常灵活的空间里，该区域的小社区全年组织传统的礼拜堂、非正式的露天市场、宗教游行、音乐会和传统活动或游戏。较少依赖城市结构，这些城市空间非常灵活，在提供机会接触和娱乐活动方面非常强大。然后，该项目不是提议画一个这样的城市广场，而是开发一个与广场类似的大型公共空间，但在与建筑环境或几何学的关系方面要灵活得多。

Its in those very flexible spaces that throughout the year small communities in the region organise traditional corteges, informal open air markets, religious processions, music concerts and traditional activities or games. Much less dependent from an urban fabric, those civic spaces are very flexible and quite strong in providing opportunities to encounter and convivial activities. Then, instead of proposing to draw a urban piazza as such, the project aims to develop a large public space with similar convivial characteristics as a piazza, but much more flexible towards the relations with a building environment or geometry.

 Third Floor Plan

三层平面图

为了维持比赛简报中所表达的欢庆目的，设计决策的目的是创造一个大的公共空间，与周围的建筑建立一种既简单又灵活的关系，或者作为自然景观的补充。

Maintaining the convivial aims expressed in the competition brief, the design decision focused in the aim of creating a large public space with either an easy and flexible relation with the buildings surrounding it, either as a complement of the natural landscape.

其他方面的研究，通过设计过程涉及的质量和特点的大型建筑在这个特定的领域。人们可能会注意到，除了在这片繁茂的土地上建造的小定居点之外，我们还可以看到一些大型农场、修道院和修道院在仍然以绿色景观为主要特征的地方划出了细细的水平线。那些更大的建筑以细长的水平线标示着领土的远景，这对于设计开发至关重要。因此，设计试图画出一座建筑，在景观中表现为一条细长的水平线，一堵又长又连续的墙。

Other aspect of research trough the design process concerned the qualities and characteristics of large buildings in this particular territory. It was possible to notice that apart from the small built settlements that somehow mark this lusty territory, we could notice some large farms or convents and monasteries scratching thin horizontal lines in the still mainly green landscape. Those larger built structures mark the territory perspective with thin horizontal lines where of crucial importance for the design development. So, the design tried to draw a building that would appear in the landscape as a thin horizontal line, as a long and continuous wall.

 © João Morgado

̃o Morgado

另一方面，对该区域更大的宗教结构的研究，即巴塔尔哈修道院和托马尔的克里斯托修道院，显示了竞争方案的有趣方面。由那些对所要求的方案特别有效的宗教结构提出的修道院。事实上，作为一家初创公司的综合体，沟通和用户之间的容易接触是一个基本的方面.或者，一个修道院的结构是相当有效的可能性，一个强大的视觉互动。因此，在设计过程中，创造出一种解决方案的可能性也很大，在这种解决方案中，一种修道院可以与所有其他设计前提相关联。

On the other hand, the research and study of larger religious structures in the region, namely as Batalha’s Monastery and Cristo’s Convent in Tomar, revealed interesting aspects towards the competition programme. The cloisters presented by those religious structures where of particular effectiveness for the requested programme. In fact, as a start-up companies compound, communication and easy contact between users is a fundamental aspect. Or, a cloister structure is quite effective towards the possibility of a strong visual interaction. So, the design process went also trough the possibility of creating a solution where a kind of cloister could be related with all other design premises.

同时，更多的知识层污染并支持正在进行的设计过程。设计团队特别感兴趣的两个来源。其中一本是前田约翰·梅达(John Maeda)的著作“简单的法律”(The Law Of Simple)，另一本是几年前在西班牙皇家博物馆(Museo de Arténeo de Castilla y Lé)举办的“新丝绸之路”(The New丝绸之路)展览。

In parallel, further layers of knowledge contaminate and have given support to the ongoing design process. Two sources where of particular interest for the design team. One was the John Maeda’s book “The Laws of Simplicity” and the other the exhibition “The New Silk Roads” from Kyong Park, held at Museo de Arte Contemporáneo de Castilla y Léon in Spain a few years ago.

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这次来自京园的展览讨论了谈判、冲突、叠加、污染和平衡等概念在领土上的表达和登记，这些概念与那些在设计过程中的前提下出现的概念相似。事实上，所有的设计目标都是关于ÓBIDOS科技园中央大楼的项目，该项目在某种程度上是平衡的，并得到了类似的地域策略的支持，就像朴槿惠作品中的表达和符号所显示的那样。

This exhibition from Kyong Park dealt with the expression and registry in the territory of some concepts as negotiation, conflict, superimposition, contamination and balance that where similar to the ones emerged trough the premises of the design process in development. In fact, all the design aims concerning the projecto for Óbidos Technological Park Central Building where somehow balanced and supported by similar strategies towards territory, as the expressions and notations showed in Park’s work.

该书由前田约翰“简约法则”作为一个概念框架，作为一种建筑条约，作为建筑思想的典范。通过减少、组织、时间、差异、背景和情感等概念，设计研究和开发试图平衡方案的要求和尽可能简单的解决方案，书中的第10条法律严重污染了该方案，Maeda指出，“简单就是减去显而易见的内容，增加有意义的内容”。

The book from John Maeda “The Laws of Simplicity” as been used as a conceptual frame, as a kind of architectural treaty, as a model for architectural thought. Trough notions as reduce, organize, time, differences, context and emotion, the design research and development tried to balance the programme’s requirements with solutions as simple as possible, strongly contaminated by the law 10 on the book, the one where Maeda, states that “simplicity is about subtracting the obvious and adding the meaningful”.

 © João Morgado

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最终得出的设计方案非常简单，而且对所处理的参考文献有某种程度的直截了当。地块的一个内表面部分地铺上了他的界限，暗示了一种自然的(暗示侵蚀过程的结果)边界。部分铺面地区，“特雷罗”，有一些扣眼，以增加土壤的渗透性。围绕着空间，两堵长长的墙，支撑着土地，并纳入了项目的一部分。在东南角，创建了一座新的小山，重新利用建筑物所有底层规划所需的土地移动。

The resulting design proposal is at the end quite simple and somehow literal towards the addressed references. One inner surface of the plot was partially paved with his limits suggesting a kind of natural (suggesting the result of an erosion process) borders. Part of this paved area, the “terreiro”, had some buttonholes in order to increase soil permeability. Surrounding the space, two long walls, sustain land and incorporates part of the programme. At southeast corner, a new hill is created reusing the land movements needed to imbed all the ground floor program of the building.

在上面，在所创造的城市空间和(再)创造和延伸的景观之上，一个巨大而又薄的空广场，一个办公室修道院，一个框架，漂浮在六个点上，分隔空间，向内和向外过滤透视图。

On top, above the created civic space and the (re)created and extended landscape, a huge but thin voided square, an office cloister, a frame, floats supported only in six points and delimits the space filtering the perspectives inwards and outwards.

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将方案的一部分纳入景观之下的决定旨在实现几个目标。一是增加地块内的绿色表面。二是降低建筑AVAC系统的能耗。最后，创建新的山丘，再利用移动的土地来定位底层项目，我们可以在某种程度上建议“Terreiro”的东南自然界限，避免消耗能量，以便将这块土地运输到其他地方，并避免在其他地方修建堤坝。

The decision to imbed part of the programme underneath the landscape aims several goals. One is to increase the green surfaces within the plot. The other is to decrease energy needs in terms of AVAC systems of the building. Finally, creating the new hill, reusing the land moved to locate the ground floor program, we could somehow suggest an southeast natural limit to the “terreiro”, avoid to spent energy in order to transport that land to other place and avoid to create an embankment elsewhere.

这个程序是以一种非常清晰和简单的方式分发的。底层是所有的支持空间，如主要的会议室和多用途的房间，一个Fablab，一个小餐馆，一些商店和主要的技术领域。在漂浮的修道院里，所有的办公室都是为创业公司而设的，还有几个实验室。两层都有很大的空间，通过模块化结构组织起来，提供了巨大的灵活性，以适应需求。

The program was distributed in a very clear and simple way. At ground floor are located all the support support spaces as main meeting and multipurpose room, a Fablab, a small restaurant, some shops and main technical areas. On the floating cloister are located all the office units for the startup companies and a few labs. Both floors present large areas organised trough a modular structure providing huge flexibility to be adapted concerning the needs.

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主要使用三种材料。混凝土钢和玻璃。基本上，底层是关于粗糙的混凝土，表示为大地构造。有意的，建筑过程中留下的所有痕迹，起到了壁画质感和故事板记忆的作用。同时，混凝土的粗塑性也被看作是一种表达特征和空间同一性。所有的底层就像用炉子做的，用它粗糙而沉重的表情。

Mainly three materials are used. Concrete, Steel and glass. Basically, ground floor is about rough concrete, expressed as a telluric structure. On purpose, all the marks of the building process where left, acting as a mural texture and a storyboard memory. Also on purpose, the rough plasticity of concrete was seen as a expression feature and towards spatial identity. All ground floor as do to with hearth, with its rough and heavy expression.

内墙和地板都是混凝土的。一些在木头(OSB面板)和油漆黑色元素(接待柜台，声学虚假天花板，楼梯)的任命提出了一个内部框架的透视图，平衡了具体的表达。

Internal walls and floors are in concrete. A few appointments in wood (OSB panels) and painted black elements (reception counters, acoustic false ceilings, staircases) proposes an internal framework of perspectives, balancing the expression of concrete.

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外部，在底层，除了窗户(双热玻璃与天然彩色铝框架)，使用两种材料。混凝土和球状钢。混凝土地板用金属粉作纹理处理，以使路面凹槽时间略为随机生锈。部分墙被生锈的球状钢板覆盖。这些面板是使用标准模块的脚手架路面单位。

Externally, at ground floor, apart from windows (double thermal glass with natural color aluminium frame), two materials are used. Concrete and corten steel. The concrete floor is texturised with metal powder in order to slightly and randomly rust this pavement trough time. Part of the walls are covered by rusty corten steel panels. Those panels are made using standard modules of scaffold pavement units.

相对于底层，第一层是关于几何和清晰度的。一组巨大的金属桁架，组装在一起，形成四个空洞和相互连接的棱镜，建造了一个巨大和浮动的修道院。该结构边缘的启动单元的模块化，这些启动单元占据了这层楼的大部分空间。

Opposed to ground floor, the first floor is all about geometry and clarity. A set of huge metal trusses, assembled to create four voided and interconnected prisms, builds a large and floating cloister. The structure rims the modularity of the startup units that occupy most of the space on this floor.

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在这层楼，循环是通过一个内部和自然通风循环，由一个巨大的玻璃表面保护。外墙采用轻质防潮保温板，内墙采用轻质干石膏板体系。

On this floor, circulation is made trough a inner and naturally ventilated circulation, protected by a huge glass surface. External walls are made with light damp proof insulated panels and internal walls have been built with light dry gypsum panels system.

在循环立交桥上，路面采用折叠式多孔钢脚手架，而在轻型铝板上则是假天花板。外立面完全覆盖了轻，半透明和透明的白色膜，由漆穿孔钢脚手架单位建成。

On the circulation cloister the pavement is in folded perforated steel scaffold units, and false ceiling his in light aluminium sheets. The outer facade is completely covered by light, translucent and transparent white membrane, built with lacquered perforated steel scaffold units.

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Architects Jorge Mealha

Location Óbidos Municipality, Portugal

Category Public Architecture

Design Team Andreia Baptista, Carlos Paulo, Diogo Oliveira Rosa, Filipa Ferreira da Silva, Filipa Collot, Gonçalo Freitas Silva, Inês Novais

Project Year 2014

Photographs João Morgado