Architects: Carlos Castanheira, Clara Bastai
Year: 2015
Photographs: Fernando Guerra | FG+SG
Team:Pedro Carvalho, Eliana Sousa, João Figueiredo, Fernanda Sá, Rita Saturnino
Projeto De Estabilidade:Paulo Fidalgo, Eng. Civil, HDP Gabinete Projectos. Engenharia Civil, Lda.
Projeto De Instalações:Eng. Pedro Nunes, Diametro & Cálculo Eng. Ldª
Date:2008 – 2015

建築師:卡洛斯·卡斯塔涅拉(Carlos Castanheira),克拉拉·巴斯泰(Clara Bastai)
攝影:Fernando Guerra | FG + SG
Projeto De Estabilidade:Paulo Fidalgo,工程。 民用HDP Gabinete Projectos。 Lda的Engenharia Civil。
Projeto DeInstalações:英語。 佩德羅·內尼斯(Pedro Nunes),迪亞梅特羅(Diametro)和卡爾卡洛(Cálculo)工程。 ª

I thought I knew the Cathedral in Porto. In my First Year of architecture we went over to draw it. From outside, from inside. The worst of it was the Cloister, full of geometry, full of different perspectives. Still, it was nothing to compare with the circular cloister of the Serra do Pilar monastery, with its impossible perspectives, which we also tackled as part of our school work.

我以為我知道波爾圖大教堂。 在我建築學的第一年,我們開始畫畫。 從外面,從裡面。 最糟糕的是迴廊,充滿幾何,充滿不同的視角。 儘管如此,它與Serra do Pilar修道院的圓形迴廊沒有任何可比性,它的視角不可能,我們也在學校工作中加以解決。

This gave us a taste for drawing. A taste and a need for it. Drawing is always a support for ideas, a way to test them and it very often leads us to discard them.

這給了我們繪畫的味道。 口味和需求。 繪畫始終是對思想的支持,是一種測試思想的方法,並且常常使我們放棄它們。

One of our teachers was Grade, Zé Grade, who used to and still lives in the vicinity, in the oldest house in Porto, or at least the one with the oldest façade, in Beco dos Redemoinhos. It was also there that we were given the bad news about one of our colleagues. Something that always remained in our memory, or at least in mine.

我們的一位老師是ZéGrade,他曾經並仍然住在附近,位於波爾圖最古老的房子裡,或者至少是外牆最古老的房子,位於Beco dos Redemoinhos。 在那裡,我們也得到了關於一位同事的壞消息。 某些東西永遠留在我們的記憶中,至少在我的記憶中。

I went back sometimes, on Saturdays, to the Vandoma Market, as a tourist, or accompanying tourists and to visit the Casa dos Vinte e Quatro, a project by Fernando Távora, who was also a teacher in that year. But never again to draw. Which is a pity, because the place deserves it. When the cleric of the Cathedral called me in, I entered through the main door, which was camouflaged by refurbishment work. I took in the darkness and the light of the Nave, passed on to the Cloister, visited the Chapels, and entered the Sacristy: the grandiosity, the arcades, the faint frescoes, the light. The unnecessary red carpet. Then, a fearful: what do you want from me?

有時,我在星期六(星期六)回去旺多瑪市場(Vandoma Market),作為一名遊客或陪同遊客,並參觀了當年也是老師的費爾南多·塔沃拉(FernandoTávora)的項目“ Casa dos Vinte e Quatro”。 但是再也不會畫了。 可惜的是,這個地方值得擁有。 大教堂的牧師叫我進去時,我穿過大門,大門被整修工作所掩蓋。 我進入了中殿的黑暗和光明,傳遞到修道院,參觀了禮拜堂,並進入了聖器收藏室:雄偉壯觀,拱廊,微弱的壁畫和光明。 不必要的紅地毯。 然後,一個恐懼的人:你想從我這裡得到什麼?

A door was opened and without leaving the cathedral we moved on to a different world. A world that appeared to me to be rural, but a poor quality rural, decrepit. In between the volumes of the Church, the Sacristy, the Beco dos Redemoinhos, the Guerra Junqueiro Museum and the Choir building, there is another world. A world of various buildings, of successive reconstructions and the conspicuous presence of the refurbishment works carried out by the department of National Buildings and Monuments, begun by the Estado Novo in 1927 and concluded in 1939.

一扇門被打開了,我們沒有離開大教堂就進入了另一個世界。 在我看來,這個世界是鄉村的,但鄉村的質量卻在下降。 在教堂,聖物收藏室,Beco dos Redemoinhos,Guerra Junqueiro博物館和合唱團建築之間,還有另一個世界。 由國家建築物和古蹟部進行的各種建築物,相繼進行的重建和明顯的翻新工程的世界,始於1927年,始於Estado Novo,始於1939年。

The patio was once the Sacristy. It was once the treasury of the Cathedral but no longer is. It is now the “Claustra Velha”, despite being more recent than the Cloister, having over time acquired the name of “old”. The spaces are a labyrinth, chaotic, full, untidy, improvised. They are used for servicing and storing the most incredible things. Good things, centuries old, alongside obsolete and out of place plastics. After wandering around lost, I walked up a stairs behind the organ, that had been eaten away by time. I went from there to the balcony, with its low balustrade that exaggerates the scale of the organ, and on to the frescoes by Nicolau Nasoni. With no one to see it, he naughtily graffitied his name and sayings to mark out his territory.

露台曾經是聖器收藏室。 它曾經是大教堂的金庫,但現在已不再是。 儘管它比修道院要近,但現在卻是“克勞斯特拉·維哈(Claustra Velha)”,隨著時間的流逝,它獲得了“舊”的名稱。 這些空間是迷宮般的,混亂的,飽滿的,不整潔的,即興的。 它們用於維修和存儲最不可思議的物品。 好東西,已有數百年曆史,與過時的舊塑料一起使用。 在迷途中徘徊之後,我在風琴後面被人吃光的樓梯上走了起來。 我從那裡走到陽台,那裡的欄杆低,誇張了器官的大小,再到Nicolau Nasoni的壁畫。 沒有人看到他,他頑皮地塗鴉了他的名字和俗語來劃出自己的領土。

The view is magnificent, unexpected. I climbed up to the Treasury, walked around on the roof of the cloister, and scrambled over that of the Sacristy, in order to have a better look and try to understand it all. The difficulties multiplied. So, I didn’t know the Cathedral after all. The Cleric, who is responsible for the management of the Cathedral, had, on the basis of a project by Fernando Távora, given up his own accommodation for the benefit of a room to house the Treasury and for visitor’s access routes.

景色壯麗,出乎意料。 我爬到財政部,在迴廊的屋頂上走來走去,在聖器收藏室裡爭先恐後,以便擁有更好的外觀並嘗試理解所有內容。 困難成倍增加。 所以,我畢竟不了解大教堂。 根據費爾南多·塔沃拉(FernandoTávora)的一個項目,負責大教堂的管理的克萊里(Cleric)放棄了自己的住所,以保留庫房和訪客的出入通道。

The demands on a building like the Cathedral of Porto, nowadays go well beyond those of religious worship. There are the visitors, tourists, groups of tourists, cultural activities and more. The backing to all this, or logistics as is nowadays the term, is either non-existent or exists in the confusion of spaces hidden behind that door in the Sacristy.

如今,對像波爾圖大教堂這樣的建築的要求遠遠超出了宗教崇拜的要求。 有遊客,遊客,遊客群體,文化活動等等。 所有這一切的支持,或時下稱為後勤的支持,都不存在,或者存在於聖器收藏家那扇門後面隱藏的混亂空間中。

What I’m asked to provide to resolve these issues are:
-An administrative space to be used for the management of the Chapter.
– A meeting space for all the members of the Chapter.
– A space for the officials and guards.
– A space for the processes of cleaning, maintenance and care of clothing, objects and ornaments.
-Service toilets.


The location for all this is to be kept within the confines of the run down area. Thankfully. Simple, but tremendously difficult. We spoke with the people responsible in the Institute that holds custody of the building, with the architect Angela Melo, the always present expert with a passion for those walls. We spoke with the people who work there and with the people who live there. We spoke with the archaeologists. We read everything that was available.

所有這些的位置都應保持在破損區域的範圍內。 謝天謝地。 簡單,但是非常困難。 我們與負責建築物保管的研究所負責人進行了交談,與建築師安吉拉·梅洛(Angela Melo)進行了對話,他始終是對牆體充滿熱情的專家。 我們與在那里工作的人以及生活在那裡的人進行了交談。 我們與考古學家交談。 我們閱讀了所有可用的內容。


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