架构师提供的文本描述。历史语境

Text description provided by the architects. HISTORICAL CONTEXT

19世纪下半叶，葡萄牙大量移民从巴西返回葡萄牙。当他们回到北方，特别是在杜罗和米尼奥地区的时候，他们带来了来自19世纪巴西经济繁荣和文化大熔炉的贸易和工业的巨大财富。伴随他们而来的是一种文化和世界主义，这在十八世纪的葡萄牙是闻所未闻的。

In the second half of the 19th century Portugal saw the return of a large number of emigrants from Brazil. While returning to their northern roots, specially in the Douro and Minho regions, they brought with them sizable fortunes made in trade and industry, born of the economic boom and cultural melting pot of the 19th century Brazil. With them came a culture and cosmopolitanism that was quite unheard of in the Portugal of the eighteen-hundreds.

 © João Morgado

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巴西首都和口味的结合，使葡萄牙北部的城市到处都是丰富而优质的建筑实例，这在其城市环境中是独一无二的，而且常常以欧洲和巴西正在做的最好的建筑为基础。

That combination of Brazilian capital and taste sprinkled the cities of northern Portugal with examples of rich, quality architecture, that was singular in its urban context and frequently informed by the best that was being done in both Europe and Brazil.

构建语境

BUILT CONTEXT

“三尖沙利特”是19世纪巴西对葡萄牙建筑影响的一个明显例子，尽管在这种特殊的背景下，这也是一个独特的例子。

The "Three Cusps Chalet" is a clear example of the Brazilian influence over Portuguese architecture during the 19th century, though it's also a singular case in this particular context.

 © João Morgado

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就在DOM Frei Caetano牌街开张的时候，一座小宫殿正在角落里用大教堂广场建造，这要归功于巴西的大量资金。它有高高的天花板，丰富的壁画，复杂的石工，灰泥浮雕和异国情调的木匠。为了遵守这些高贵的空间，厨房、洗衣房、储藏室和人事部通常都藏在地下室和阁楼里，现在被安置在一栋紧邻的建筑里，这是一栋简陋的普通建筑。

Right as the Dom Frei Caetano Brandão Street was opened, a small palace was being built in the corner with the Cathedral's square and thanks to large amounts of Brazilian money. It boasted high-ceilings, rich frescos, complex stonework, stucco reliefs and exotic timber carpentry. In deference to such noble spaces, the kitchen, laundry, larders and personnel quarters, which were usually hidden away in basements and attics, were now placed within one contiguous building, of spartan, common construction.

这座建筑是根据一座阿尔卑斯小木屋的设计模式建造的，在19世纪的巴西非常流行(狭小的比例、高高的窗户、倾斜的屋顶和装饰的屋檐)，“三尖顶Chalet”就是那座建筑。

Built according to the devised model of an alpine chalet, so popular in 19th century Brazil (with narrow proportions, tall windows, pitched roofs and decorated eaves), the "Three Cusps Chalet" was that one building.

由于这种特殊情况的汇合点，这很可能是唯一的例子，共同的，斯巴达，19世纪的巴西血统建筑在葡萄牙。

Due to the confluence of such particular circumstances it's quite likely the only example of a common, spartan, 19th century building of Brazilian ancestry in Portugal.

这座建筑位于罗马和中世纪布拉加城墙的中心，距离布拉加的大教堂(伊比利亚半岛最具历史意义的教堂之一)只有一箭之遥。这是一座阳光明媚的建筑，有两条战线，一条面向西大街，另一条面向东面一个令人愉悦、合格的街区内部广场，整天都在享受自然光线。

Siting at the heart of both the Roman and medieval walls of Braga, a stone's throw away from Braga's Cathedral (one of the most historically significant of the Iberian Peninsula) this is a particularly sunny building with two fronts, one facing the street at West and another one, facing a delightful, qualified block interior plaza at East, enjoying natural light all day long.

 © João Morgado

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在我们进行调查的时候，它的计划是由楼梯(被天窗照亮)组织起来的，位于房子的中心，在每一层都定义了两个大小相等的空间，东方和西部。

At the time of our survey, its plan is organized by the staircase (brightened by a skylight), placed at the center of the house and defining two spaces of equal size, East and West,  on each of the floors.

当我们从街道上的商店爬到一楼的起居室(西)和厨房(东)的时候，每一层的性质都从公共到私人。

The nature of each floor changes from public to private as we climb from the store at the street level to a living room (West) and kitchen (East) at the first floor,  with the sleeping quarters on top.

 West Elevation

西向立面图

从材料上讲，所有的石材和周边支撑墙都是用当地的黄色花岗岩建造的，而地板和屋顶则是用木质横梁和硬木地板来完成的。

Materials-wise, all of the stonework and the peripheral supportive walls are built with local yellow granite, while the floors and roof are executed with wooden beams with hardwood flooring.

建筑工程

ARCHITECTURAL PROJECT

面对着它有辱人格的状态和掺假的程度，以及它的故事和类型的兴趣，设计小组把恢复建筑物的身份作为他们的任务，这一身份在120年的不合格的小干预中已经丧失。目的是澄清建筑物的空间和功能，同时使它适合今天的生活方式。

Confronted by both its degrading state and degree of adulteration, and by the interest of its story and typology, the design team took as their mission the recovery the building's identity, which had been lost in 120 years of small unqualified interventions. The intention was to clarify the building's spaces and functions while simultaneously making it fit for today's way of living.

 © João Morgado

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该节目要求一个工作室和一个家庭项目共同居住。考虑到建筑面积的减少，采用了原有的按楼层划分空间的策略。当一个人爬上楼梯时，隐私的程度就会增加。楼梯也会随着楼梯的每一层而变窄，这说明了楼梯所连接的空间的变化性质。

The program asked for the cohabitation of a work studio and a home program. Given the reduced area of the building, the original strategy of hierarchizing spaces by floor was followed. The degree of privacy grows as one climbs the staircase. The stairs also get narrower with each flight of steps, informing the changing nature of the spaces it connects.

一种确保整个建筑最大透明度的意愿，允许光线从前到前，从上到下穿过它，定义了所有的组织和分区策略，从而形成了一个与垂直阁楼相关的解决方案。

A willingness to ensure the utmost transparency throughout the building, allowing light to cross it from front to front and from top to bottom, defined all of the organizational and partitioning strategies resulting in a solution related to a vertical loft.

 © João Morgado

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设计团队利用街道和街区内部广场之间的1，5米的高度差，将工作区域放置在地面上，将工作区域向西倾斜，并将其与街道联系起来。同时，通过一个解决厨房和外部过渡的平台，将室内广场和晨光联系在一起。这使得这两个空间可以立即显示出完全不同的个性和光，尽管它们之间只有两层楼梯。

The design team took advantage of a 1,5 m height difference between the street and the block's interior plaza to place the working area on the ground level, turing it westward and relating it to the street. Meanwhile, the domestic program relates with the interior plaza and the morning light via a platform that solves the transition between kitchen and exterior. This allows for both spaces to immediately assert quite different personalities and light, even though they are separated by just two flights of stairs.

楼梯几何，以前关闭在它的三个侧面，有效地过滤了两个程序之间的视觉关系，同时仍然允许自然光从上层渗出，照亮工作室。

The staircase geometry, previously closed in 3 of its sides, efficiently filters the visual relations between both programs while still allowing for natural light to seep down from the upper levels and illuminate the working studio.

 © João Morgado

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二楼是为房子的社会活动而保留的。楼梯拒绝了分隔的自然倾向，允许确定厨房和客厅的周长，创造出一种整天都有自然光的开放式地板。早晨从厨房，从楼梯的天窗，下午从客厅进来。

The second floor was kept for the social program of the house. Refusing the natural tendency for compartmentalizing, the staircase was allowed to define the perimeters of the kitchen and living room, creating an open floor with natural light all day long. Light enters from the kitchen in the morning, from the staircase's skylight and from the living room in the afternoon.

爬上楼梯的最后和狭窄的楼梯，我们到达睡觉的地方，在那里主角是屋顶，其结构保持明显，虽然漆成白色。在楼梯的另一边，这是每一层的组织单元，有一个衣帽间，后面有一个浴室。

Climbing the last and narrow flights of stairs we reach the sleeping quarters where the protagonist is the roof, whose structure was kept apparent, though painted white. On the other side of the staircase, which is the organizing element on every floor, there's a clothing room, backed by a bathroom.

 © João Morgado

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如果说房子的视觉主题是白色，在墙壁、天花板、木工和大理石上有条不紊地重复，那么服装室就是通向房子私人区域的道路顶端的惊喜。地板和屋顶的结构都以其天然的颜色出现，周围都是用相同材料建造的壁橱门。它读起来是一个小木箱，是家庭白色盒子的对位点，也是浴室大理石盒子的对头。

If the visual theme of the house is the white color, methodically repeated on walls, ceilings, carpentry and marble, the clothing room is the surprise at the top of the path towards the private areas of the house. Both the floor and roof structure appear in their natural colors surrounded by closet doors constructed in the same material. It reads as a small wooden box, a counterpoint to the home's white box and being itself counterpointed by the marble box of the bathroom.

配合光线最大化的策略和空间的明确性，本项目所使用的材料和完成选择是有意限制的。白色被用于墙壁，天花板和木工，因为它的空间性质和轻盈。木材在其自然的颜色是用于硬木地板和服装室，因为它的温暖和舒适。葡萄牙白色埃斯特雷兹大理石覆盖底层、台面、浴室、洗衣墙和地板，因其质地、反射率和颜色而被选中。

Fitting with the strategy of maximizing light and the explicitness of the spaces, the material and finish choices used in this project were intentionally limited. White color was used for the walls, ceilings and carpentry due to its spacial qualities and lightness. Wood in its natural color is used for the hardwood floors and clothing room due to its warmth and comfort. Portuguese white Estremoz marble, which covers the ground floor, countertops and on the bathrooms and laundry walls and floors, was chosen for its texture, reflectivity and color..

 © João Morgado

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主门面的所有原始木窗框都被找回，屋顶用松木结构上的马赛瓷砖进行了改造，装饰后的屋檐恢复了原来的辉煌。

All of the original wood window frames of the main façade were recovered, the roof was remade with the original Marseille tiles over a pine structure and the decorated eave restored to its original glory.

硬木地板是用南方黄松改造的，原来的结构和所有需要防水的表面都用葡萄牙的埃斯特雷兹大理石覆盖。

The hardwood floors were remade with southern yellow pine over the original structure and all the surfaces that required waterproofing covered with Portuguese Estremoz marble.

一楼窗框按照原作用铁重新制作，但为了最大限度地利用自然光照而重新设计(如在东面)。

Ground floor window frames were remade in iron, as per the original, but redesigned in order to maximize natural illumination (as on the east façade).

 Access Floor

存取层

“就在我们第一次参观这座大楼的时候，这座大楼急切地想要什么，就变得很明显了。”一方面，它必须摆脱所有不必要的附加功能，窒息它，损害其原有空间的清晰性和逻辑性。另一方面(即使在许多方面，它是同样疾病的症状)允许光渗透到它的空间。黑暗最终导致了建筑系统划分的最终结果。我们需要最大限度地提高透明度和光线，让它呼吸。“

"Even as we visited it for the first time it became quite apparent what this building was desperately asking for. On one hand, it had to be free from all the gratuitous add-ons that suffocated it and compromised the clarity and logic of its original spaces. And on the other hand (even if it is, in many ways, a symptom of the same malady) to allow light to permeate its spaces. Darkness ended up as the ultimate consequence of the systematic compartmentalization that the building was subjected to. We needed to maximize both transparency and light to allow it to breathe."

蒂亚戈谷

Tiago do Vale

“这座建筑最初的类型是典型的八种-考虑到这座建筑的设计考虑到了使用上的灵活性，它本身是相当宽松和开放的，适合于回答几乎任何一种或任何建筑方案。”

"The building's original typology, typical of the eight-hundreds -and considering that the building was already designed with flexibility of use in mind- is, in itself, quite permissive and open, fit to answer almost any kind or architectural program.

 © João Morgado

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既然如此，除了忠实于建筑的原貌之外，我们从来没有想过另一条道路，就像它的技术解决方案、空间和程序的分布一样，它的建筑也是如此。

Being so we never thought of another path besides being faithful to the building's original nature, as much on its architecture as on its technical solutions and spacial and programatic distribution.

我们不仅恢复了原始材料，而且还恢复了每个空间的原始用途。即使我们引进了新的材料，比如埃斯特雷兹大理石，我们也是这样做的，标准是它适合建筑的性质和历史背景。“

We recovered nor only the original materials but also the original uses of each space. And even when we introduced new materials such as the Estremoz marble, we did it with the criteria of it being right for the building nature and historic context."

蒂亚戈谷

Tiago do Vale

“在这种情况下，时间不宽裕[建筑物]。

"In this particular case, time wasn't generous with it [the building].

有时，建筑师会发现自己意见不一致，试图应对再认证的挑战，在严格、盲目的修复的概念诚实和概念上不诚实的自由之间拉拢，让项目在任何特定的问题上走得更远。

Sometimes an architect finds himself divided, trying to respond to the challenges of a requalification, seduced between the conceptual honesty of a strict, blind restoration and the conceptually dishonest freedom to lie a little bit about it, to make way for the project to go a bit further on any particular matter.

 © João Morgado

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和往常一样，最好的妥协是介于两者之间：严格的、盲目的修复可以产生一个美丽而有趣的建筑对象，但是必须有一些东西来使建筑能够回应当代生活方式的要求。在过去的120年里，我们的生活方式发生了翻天覆地的变化。这种反应最终是一座建筑的终极使命(以及它所呼吸的生命)。

As always, the best compromise lay in between both extremes, informed by them both: a strict, blind restoration can produce a beautiful and interesting architectural object, but something has to give so that the building is able to respond to the requests of the contemporary way of living. The way we live has changed dramatically over the last 120 years. That response is, in the end, a building's ultimate mission (and the life it breathes).

当时间的流逝是慷慨的，它有资格和价值的建筑物，增加了它的原始品质，并注意到它的路径穿越时间。它显示了我们与我们的家园的关系(我们的生活方式)如何稳步变化和发展，这是巨大的丰富和了不起的建筑经验。

When the passing of time is generous, it qualifies and values a building, adding to its original qualities and taking note of it's path through time. It shows how the way we relate with our homes (the way we live them) steadily changes and evolves, which is enormously enriching and a marvelous architectural experience.

 © João Morgado

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所以，回到这个特殊的案例，我们试图做出不诚实的承诺，给这个建筑提供一个更幸福的故事，一个比它实际遭受的更慷慨的道路。我们恢复并突出了它非常有趣的原始特征，同时引入了一些元素和思想，这些元素和思想可以一步步地传递这个家园，从它的基础时期到今天，完美地适应当代的生活方式。“

So, returning to this particular case, we tried to commit the tender dishonesty of offering this building a happier story, with a more generous path than the one it actually suffered. We recovered and highlighted its very interesting original characteristics while introducing elements and ideas that could transport, step by step, this home from its foundation times to the present day, perfectly adjusted to the contemporary ways of life."

蒂亚戈谷

Tiago do Vale

“最基本的是，我们的选择是收回建筑物的原意和条件，但(基本的)微妙之处是，除了盲目的修复之外，我们还提供了一个额外的东西。”一种可以使建筑物恢复功能的东西(人们可以在那里居住并过上真正优质的生活)，直到今天、街道、城市，并有足够的灵活性使它多活120年。

"At it most basic, our option was to reclaim the original intent and conditions of the building but with the (fundamental) subtlety of providing an added something beyond a blind restoration. Something that could return the building to a function, to a use (whereby people could inhabit it and live a life of genuine quality), to present day, to the street, to the city, and with enough flexibility to keep it going for an extra 120 years.

 Doors: First Floor, Penthouse

门：一楼，阁楼

这是一个微妙的问题，尽管作为功能，使用，人，街道，城市都是无情的，不可原谅的，不断改变他们与他们的建筑环境的联系方式。“

This is a delicate matter, though, as function, use, people, streets, cities are all things that relentlessly, unforgivingly, keep changing the way they relate with their built surroundings."

蒂亚戈谷

Tiago do Vale