Barroca Museum DC.AD

2016-09-13 11:00

 © Francisco Nogueira

弗朗西斯科·诺盖拉

架构师提供的文本描述。巴罗卡博物馆的建筑设计始于2014年，其核心前提是重组位于葡萄牙莫拉城外巴罗卡庄园的一座建筑。

Text description provided by the architects. Design of the architectural project for the Barroca Museum began in 2014 and featured as its core premise the reorganisation of a building located on the Barroca Estate just outside the Portuguese town of Mora.

 © Francisco Nogueira

弗朗西斯科·诺盖拉

在这次干预之前，这座建筑最近进行了改造，它保留了阿伦特扬土话建筑风格的起源，这是一个很好的例子。它是由一个长的，单层的体积，位于这个农业庄园的一个凸起的地区，它以前是作为庄园的马槽。该结构的特点是广泛的部分白色墙，在整个施工过程中有控制的开口。山墙屋顶由木制桁架固定，赋予空间一个展馆的振幅。以粉刷墙和红色陶瓷铺砌为代表，这使人想起了这一地区的传统建筑语言。

The building, that had been recently restructured before this intervention, had retained its origins within the Alentejan vernacular architectural style of which it represents a fine example. It is composed of a long, single storey volume, located in a raised area of this agricultural estate, which previously served as the manger for the estate. The structure is characterised by extensive sections of white wall, with controlled openings throughout the construction. The gable roof is held in place by wooden trusses that endow the space with the amplitude of a pavilion. The finishings are typified by the whitewashed plastered walls and the red ceramic paving, which recall the traditional architectonic language of this region.

 © Francisco Nogueira

弗朗西斯科·诺盖拉

所开展的项目确定了一个关于地方议会历史的展览，展览的基础是迄今未出版的照片记录，这些记录说明并突出了该区域自20世纪初以来正在进行的社会和经济变革。

The project undertaken defined the installation of an exhibition about the history of the local council based upon hitherto unpublished photographic records that illustrate and highlight the social and economic transformations ongoing in the region ever since the early 20th century.

 © Francisco Nogueira

弗朗西斯科·诺盖拉

展览布局重新设计了现有的空间逻辑，并根据不同的具体要求对展览内容进行了重新设计。在概念上，该项目是在设计时，强烈参考了周围的建筑和自然环境，发挥了内部和外部的关系。

The exhibition layout redesigned the existing spatial logic and in accordance with the diverse specific requirements of the exhibition content. Conceptually, the project was designed with a strong reference to the surrounding built and natural environments in a play on the interior-exterior relationship.

 Exhibition Floor Plan

展览楼面图则

干预扩展到在主殿的内部建造一个体积，它与墙壁和天花板分开，成为这个空间中心的一个不受束缚的物体。这种独立的白色结构使人联想到石砌的外部部分，并作为现有建筑逻辑的复制。

The intervention extended to the construction of a volume within the interior of the main nave, which stands apart from the walls and the ceiling to become an object unbound in the centre of this space. This self-standing, white structure proves reminiscent of the outer sections of stone masonry and functions as a replication of the existing construction logic.

 © Francisco Nogueira

弗朗西斯科·诺盖拉

该卷被交叉穿过两个轴横贯周围的空间，与现有开口的公制相一致，从而使参观者在展览内外流通，以及自然光的受控入口。这些划分形成了三个不同的空间，而这三个空间又对应于三个主要的展览部分。

This volume gets intersected across the two axes transversal to the surrounding space in alignment with the metric of the existing openings and thus enabling the circulation of visitors inside and outside of the exhibition as well as the controlled entrance of natural light. These divisions result in three distinct spaces which, in turn, correspond to the three main exhibition sections.

 © Francisco Nogueira

弗朗西斯科·诺盖拉

偶尔也会有固定的家具，用于嵌入博物馆空间的各种方案，接待和商店就是其中的例子。

There are also occasional pieces of fixed furniture that act to embed the diverse programs of the museum space of which the reception and store are examples.

 © Francisco Nogueira

弗朗西斯科·诺盖拉

在室内，各种形式的支持和看台确保参观者陪同展览的步伐，并促进公众与展览内容的互动。家具的绿色反映了自然的外部环境，与一般项目概念中确立的前提相一致。

In the interior, various means of support and stands ensure visitors accompany the pace of the exhibition and fostering the interaction of the public with the exhibited content. The green colour of the furniture reflects back to the natural exterior environment in continuity with the premises established in the general project concept.