GS1 Portugal PROMONTORIO

2017-05-17 05:00

 © Fernando Guerra | FG+SG

费尔南多·格拉

架构师提供的文本描述。葡萄牙GS1是葡萄牙非盈利全球机构的对应机构，负责实施公司和产品的技术许可原产地识别系统，除其他外，推广著名的条形码，现在被指定为QR代码。

Text description provided by the architects. GS1 Portugal is the Portuguese counterpart of the non-profit global body in charge of implementing the technological licensing origin identification systems of companies and products, promoting, among others, the renown barcodes, now designated qr codes.

 © Fernando Guerra | FG+SG

费尔南多·格拉

它的新总部，是与艺术家AlexandreFarto Faraka Vhils合作于2014年举行的比赛中获得一等奖的结果。该大楼位于卢米亚区里斯本校区的IAPMEI(竞争力和创新署)。这个校园是葡萄牙最早专门为商业创新而创建的校园之一，坐落在城市边界上18世纪的农舍周围，并于20世纪70年代初规划，基于一个正交网格，很大程度上受到盎格鲁-撒克逊大学模式的启发。

Its new headquarters, are the outcome of the 1st-prize in a competition held in 2014, in collaboration with artist Alexandre Farto aka Vhils. The building is located in the IAPMEI (Agency for Competitiveness and Innovation) Lisbon campus, in the Lumiar district. This campus, which is one of the first in Portugal specifically created for business innovation, is located on the surroundings of an 18th-century farmhouse on the boundaries of the city and was planned in the early 1970s based on an orthogonal grid largely inspired in the Anglo-Saxon university model.

 © Fernando Guerra | FG+SG

费尔南多·格拉

 © Fernando Guerra | FG+SG

费尔南多·格拉

新大楼使用的是1980年代一幢现有办公楼的混凝土结构，而这座办公楼在物理和技术上都已过时。以前被称为K3的建筑是一个两层的长方形建筑，有一个简单的柱面网格，里面有一个华夫板系统。就方案而言，大楼有三个不同的区域，也对应于不同的楼层。底层集中了中心活动的公共领域，即一个设有价值链模拟器和多媒体信息技术的应用和交互岛的展示室；它还包括一个多用途礼堂和技术领域。二楼在一个流动和非正式的开放空间容纳管理和服务，而会议室、文具和厕所则局限在不透明的岛屿上。最后，屋顶占据了社交区，酒吧/咖啡店开在一个遮荫的露台上。建筑内部由两个大的圆形空隙连接而成，从现有的楼板中分离出来，视觉上扩大了空间和用户互联的体验。

The new building makes use of the concrete structure of an existing 1980s office building which, in the meantime, became physically and technologically obsolete. The formerly called K3 building was a two-storey rectangular volume with a simple column grid holding a waffle slab system. In terms of programme, the building has three distinct areas, also corresponding to the different floors. The ground floor concentrates the public sphere of the centre’s activities, namely a showroom equipped with value-chain simulators and applied and interactive isles of multimedia information technology; it also includes a multi-purpose auditorium and technical areas. The second floor accommodates management and services in a fluid and informal open space, whereas meeting rooms, stationery and toilet areas are confined in opaque islands. Finally, the rooftop holds the social area with a bar/coffee shop opening onto a shaded terrace. Inside, the building is unified by two large circular voids cut-off from existing slabs visually enlarging the experience of space and user interconnectivity.

 © Fernando Guerra | FG+SG

费尔南多·格拉

 © Fernando Guerra | FG+SG

费尔南多·格拉

在装修方面，建筑的内部有意发挥材料再利用的观念。暴露的混凝土元素的稀薄性以及没有假天花板，从而暴露了所有的电缆托盘和交流管道，与使用者手中的油毡、软木、纺织品和地毯等材料和饰面的舒适性和触觉性形成了鲜明对比。

In terms of finishing, the interior of the building intentionally plays on the idea of material reuse of the pre-existence. The rawness of the exposed concrete elements as well as the absence of false ceiling, thereby exposing all the electricity cable trays and AC ductwork, contrasts with the comfort and tactility of materials and finishes at users’ hands reach such as linoleum, cork, textiles and carpets.

 © Fernando Guerra | FG+SG

费尔南多·格拉

 Planta / Elevação

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 © Fernando Guerra | FG+SG

费尔南多·格拉

在混凝土面板和地板到天花板的玻璃板之间交替的立面曲折系统，分别面向南北，重新配置建筑物的景观与校园的关系，同时保护工作空间免受过度的阳光照射，并与花园产生发光的关系。

The facade zigzag system alternating between concrete panels and floor-to-ceiling glass panes, respectively facing North-South, reconfigures the relationship of the building’s views with the campus, while protecting the workspaces from excessive sunlight and yielding a luminous relationship with the garden.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在外部，部分混凝土面板有一个基本的浮雕由vhils，一个艺术项目的成果，建筑师和艺术家之间的长期合作，即基于技术的研究大规模预制混凝土成型。Vhils的工作，特别是这个项目，提出了一个当代批评家的混乱的信息和视觉噪音，同时质疑它的破坏性作用，这反过来又抵消了人的眼睛的存在。

On the exterior, a part of the concrete panels has a bas-relief by VHILS, an art project on the outcome of a longstanding collaboration between the architects and the artist, namely on technology-based research for large scale precast concrete moulding. VHILS’ work and this project in particular, proposes a contemporary critic on the chaos of information and visual noise while questioning its disruptive role, which in turn is counterpoised by the presence of the human eye.