© Diana Quintela

戴安娜·奎尔塔

架构师提供的文本描述。临时展馆VIATICUS，产生于它的位置，在科多里亚国家建筑的西部露台，它同时是对其文化背景的反应，因为它的条件和目的是接待ARCO游客，世界上最相关的艺术展之一。

Text description provided by the architects. The temporary pavilion VIATICUS, arises as a response to its placement, on the western patio of the Cordoaria Nacional building, and it’s simultaneously a reaction to its cultural context, since its condition and purpose is to host ARCO visitors, one of the world’s most relevant art fairs.

Text description provided by the architects. The temporary pavilion VIATICUS, arises as a response to its placement, on the western patio of the Cordoaria Nacional building, and it’s simultaneously a reaction to its cultural context, since its condition and purpose is to host ARCO visitors, one of the world’s most relevant art fairs.

 © Diana Quintela

戴安娜·奎尔塔

该方案考虑了建筑提案的可能性，这将使我们能够在概念上颠倒庭院的类型，并探讨其与城市的关系方式。关于露台的想法，将我们引向一个本质上是内省和自成体系的类型学。另一方面，一个塔表达它的垂直性，意图被看到，以标记，一个元素同时体现自己，无论在里面和外面。

The option considered the possibility of an architectural proposal which would enable to conceptually invert the typological character of the patio and exploring the way it relates with the city. The idea of a patio, remits us to a typology which is in essence, introspective and self-contained. On another hand, a tower expresses its verticality with the intention to be seen, to mark, an element which manifests itself simultaneously, both inside and out.

The option considered the possibility of an architectural proposal which would enable to conceptually invert the typological character of the patio and exploring the way it relates with the city. The idea of a patio, remits us to a typology which is in essence, introspective and self-contained. On another hand, a tower expresses its verticality with the intention to be seen, to mark, an element which manifests itself simultaneously, both inside and out.

提出了一种结构。或者应该说，“上层建筑是提议的”。一种能够凝聚(调和)并整合三个不同尺度的独特系统：公共规模，人们分享、吃饭和休息；纪念碑规模，活动向城市宣布自己；国内规模，后台和工作区确保活动的成功。这座塔是连接和调和这三种尺度和功能的元素：这是公众和雇员之间相互作用的时刻，与空间的垂直性相互作用，这是由卡洛斯·诺盖拉创造的一件定制的艺术作品-金色装饰-拉长的时刻。

A structure is proposed. Or it should be said, “A superstructure is proposed“. A unique system that is able to condense (conciliate) and integrate three distinct scales: the public scale, where people share, eat and rest; the monument scale, where the event announces itself to the city; and the domestic scale, where the backstage and the working areas ensure the event’s success. The tower, works as the element that binds and conciliates these three scales and functions: this turn out to be the moment where public and employees interact, amongst themselves and with verticality of the space, which is elongated by a bespoke art piece, a golden trim, created by Carlos Nogueira.

A structure is proposed. Or it should be said, “A superstructure is proposed“. A unique system that is able to condense (conciliate) and integrate three distinct scales: the public scale, where people share, eat and rest; the monument scale, where the event announces itself to the city; and the domestic scale, where the backstage and the working areas ensure the event’s success. The tower, works as the element that binds and conciliates these three scales and functions: this turn out to be the moment where public and employees interact, amongst themselves and with verticality of the space, which is elongated by a bespoke art piece, a golden trim, created by Carlos Nogueira.

 © Diana Quintela

戴安娜·奎尔塔

该计划采用纵向结构，比例为1：10(3米宽，30米长)，使现有露台的比例增加1：20。在天井类型学和塔楼之间产生的方言，可以使我们相信，这种既定的关系是通过敌对和对立的视角来完成的，相当挑衅性和出乎意料。虽然，设计的基本规则来自对现有建筑的深入了解，在这里，这些3x3x3m的虚拟立方体的组成是由1.5x1.5x1.5m公制的，这说明了现有建筑的立面原理。此外，这3米建立了一个直接对话与现有的石砌楼梯的宽度，这是一个元素，一个明显和强有力的存在露台上。

The scheme is planned with a longitudinal structure, and a proportion of 1:10 (3 metres wide by 30 metres long) which accentuates the 1:20 proportion of the existing patio. The dialect generated in-between the patio’s typology and the tower, could lead us to believe that this established relation is done through an antagonist and opposing perspective, rather provocative and unexpected. Although, the design’s basic rules come from an intimate understanding of the existing building, where the composition of these virtual cubes with 3x3x3m are given by the 1.5x1.5x1.5m metric that state a principle on the existing building’s elevation. Also, these 3 metres establish a direct dialog with the width of the existing stone masonry staircase, which is an element with a marked and strong presence in the patio.

The scheme is planned with a longitudinal structure, and a proportion of 1:10 (3 metres wide by 30 metres long) which accentuates the 1:20 proportion of the existing patio. The dialect generated in-between the patio’s typology and the tower, could lead us to believe that this established relation is done through an antagonist and opposing perspective, rather provocative and unexpected. Although, the design’s basic rules come from an intimate understanding of the existing building, where the composition of these virtual cubes with 3x3x3m are given by the 1.5x1.5x1.5m metric that state a principle on the existing building’s elevation. Also, these 3 metres establish a direct dialog with the width of the existing stone masonry staircase, which is an element with a marked and strong presence in the patio.

 Axonométrica

Axonométrica

结构顺序以不同发生的场景出现，暗示轴承与空间结构之间的直接关系，一套长的纺织品作为约束元素，覆盖并创造阴影区域，产生新的空间张力。悬垂逐渐下降，创造了垂直透视效果和与现有楼梯的镜像关系，增强和强调了塔的不朽性。这些阴影产生的元素，创造了非正式和有机的空间，以对比和平衡的结构刚度。

The structural order arises as the setting scene of different happenings and suggests a direct relation between both bearing and spatial structures, a set of long textiles work as a binding element, which covers and creates the shaded area, creating new spatial tensions. The draping descends gradually, creating a vertical perspective effect and a mirrored relation with the existing staircase, which enhances and emphasizes the tower’s monumentality. These shadows generating elements, create informal and organic spaces, that contrast and counterbalance with the structures stiffness.

The structural order arises as the setting scene of different happenings and suggests a direct relation between both bearing and spatial structures, a set of long textiles work as a binding element, which covers and creates the shaded area, creating new spatial tensions. The draping descends gradually, creating a vertical perspective effect and a mirrored relation with the existing staircase, which enhances and emphasizes the tower’s monumentality. These shadows generating elements, create informal and organic spaces, that contrast and counterbalance with the structures stiffness.

 © Diana Quintela

戴安娜·奎尔塔

金垂直元素，从人行道上出现，解决了塔顶的顶部，是与雕塑家卡洛斯·诺盖拉(Carlos Nogueira)密切合作的结果，它强调了作为整体结构的统一体的象征性存在。

The golden vertical element, which emerges from the pavement level and solves the coping on the top of the tower, is the result of an intimate collaboration with the sculptor Carlos Nogueira, it accentuates the symbolic presence of the unity, as an ensemble of structures.

The golden vertical element, which emerges from the pavement level and solves the coping on the top of the tower, is the result of an intimate collaboration with the sculptor Carlos Nogueira, it accentuates the symbolic presence of the unity, as an ensemble of structures.

Architects Atelier JQTS

Location Av. Da Índia, 1300-598 Lisbon, Portugal

Project Team João Quintela, Tim Simon

Area 3229.17 ft2

Project Year 2018

Photographs Diana Quintela

Category Temporal Installations