© Diana Quintela

戴安娜·奎尔塔

架构师提供的文本描述。眩晕位于里斯本，由于其所处的物理现实，不同的功能需求，特别是由于葡萄牙的经济状况，眩晕是在特别复杂的环境中产生的。这是一个地区，打算举办一个小咖啡馆，但也是一个接待一个体育中心，以及一个小商店出售设备和一个非正式休息区。也许，对于这些不同的具体需要，一个可能的答案是，不要从严格和字面的意义上考虑它们。当表单遵循结构时，动作就会出现，而真正的使用就变得不可预测了。

Text description provided by the architects. Located in Lisbon, VERTIGO was born in particularly complex context due to the physical reality where it belongs,the different functional needs, but specially due to the Portuguese economical situation. This is an area that intends to host a small cafe but also a reception to a sports center as well as a small shop to sell equipment and an informal lounge area. Perhaps a possible answer to such different specific needs is to not consider them in a strict and literal sense. When form follows the structure, the action can simply appear and the real use becomes unpredictable.

 © Diana Quintela

戴安娜·奎尔塔

我们可以将架构理解为中介的关键力量。也正是在这个定义下，它可以作为物质和非物质的现实同时存在。作为一种物理结构，静态的，以及正在发生的，不稳定的。

We could understand Architecture as a key force of mediation. And it's also under this definition that it can exist as material and immaterial reality at the same time. As a physical structure, static, as well as an happening, volatile.

 © Diana Quintela

戴安娜·奎尔塔

该项目位于里斯本河畔的一个大型工业仓库内，将有一个室内攀岩中心。正因为如此，咖啡厅所在的展馆必须被假定为城市外部现实与体育内心世界之间的过渡性过滤器，与两者保持着直接的联系。VERTIGOO回答了这一点，但它似乎也是对位于该市这一地区的废弃工业结构的立场，而该工业结构一旦允许用机器取代该男子。

The project is located within a large industrial warehouse just on the riverfront of Lisbon and will receive an indoor climbing center. Because of this, the pavilion that hosts the café must be assumed as a transitional filter between the outer reality of the city and the inner world of the sports, keeping a direct relation with both. VERTIGOanswers to this but it appears also as as position towards the abandoned industrial structures located in this area of the city and that once admitted the replacement of the man by the machine.

 © Diana Quintela

戴安娜·奎尔塔

这种结构是由预制的手工混凝土构件和由手工切割而成的木制结构组成的地下室建造的，但经过了一个重复的、串联的工业结构。这种矛盾是否存在于建筑中，而不是正式地显现出来呢？

The structure is built by a basement of precast handmade concrete pieces, and a wooden structure made out of handmade cut pieces, yet through a repetitive process, in series, industrial. Can the contradiction exist in Architecture without it becoming formally evident?

 Exploded Perspective

爆炸透视

施工过程遵循同样的逻辑，手工完成，接受开放式工作的缺陷和具体情况，丰富了项目与施工之间的差距。柔和地应用于木结构的红色对应着一种象征性质，可以用重叠的含义来解读，这在某种程度上体现在与河旁的起重机和集装箱的关系上，以及里斯本最古老的河桥，甚至在这一地区有着强大存在的其他工业结构。

The construction process follows the same logic and is done manually, accepting the imperfections and the specific circumstances of an open work that enriches the gap between project and construction. The red color that is softly applied to the wooden structure corresponds to a symbolic nature which could be read in overlapping meanings, evident in a particular way in their relationship with the cranes and containers located by the river, as well as the oldest river bridge of Lisbon or even the other industrial structures that have a strong presence in this area.

 © Diana Quintela

戴安娜·奎尔塔

真实色彩的模糊性揭示了这种关系和其他不同的关系，并通过改变对空间和环境的感知，揭示了白天阳光的变化所给予的这种不同的关系。内部黑色金属元素的使用也属于十九世纪里斯本工业时期这种象征性但支离破碎的记忆。

The ambiguity of the real color explores this and other different relations and its given by the variation of the sunlight during the day by changing definitely the perception of the space and his environment. The using of the black metal elements inside belongs also to this symbolic but fragmented memory of the industrial period in Lisbon during the nineteenth century.

 © Diana Quintela

戴安娜·奎尔塔

整个项目是由小规模的重叠木块产生的，这使得整体与部分、部分之间和整体之间有着直接的联系。国家松木的使用及其重复的、基本的建筑，使几个人积极参与，从而极大地降低了建筑的总成本，同时也探索了建筑空间与人之间的相互认同和更深层次的关系。

The whole project is generated from the small scale by overlapping wooden pieces which allows a direct relationship of the whole to the parts, and the parts among themselves and to the whole. The use of national pinewood and its repetitive and elemental construction allows the active participation of several hands, which exponentially reduces the total cost of the building and at the same time explores a mutual identity and a deeper relationship between the  built space and people.

 © Diana Quintela

戴安娜·奎尔塔

眩晕馆有一个12×5米的长方形平面图，是在两层楼上开发的，形成了覆盖区域、上层空间和开阔的空间，在那里你可以感受到现有仓库的高度。建筑的物理体验可以用基本的建筑工具来强调已有的建筑特征：入口是由一个大而低的门槽，一个张紧的空间，而出口是通过一个高而窄的开口，它使攀登区域具有巨大的意义，同时也成为了从上层空间的一个特权窗口。

VERTIGO Pavilion has a rectangular floor plan of 12 by 5 meters and is developed on two levels creating covered areas, upper spaces and open places where you can feel the  height of the existing warehouse. It is intended that the physical experience of the building can emphasize the pre-existing architectural features using elemental architectonical tools: the entry is made by a large and low door trough a tensioned space, while the way out is made through a high and narrow opening which monumentalizes the climbing area and simultaneously becomes an privileged window from the upper spaces.

 Floor Plan

展馆的内部结构面临着软软的外部适应，揭示了原有仓库之间不稳定的关系，以及攀岩墙本身。我们可以说，在寻求平衡的过程中，存在着一种互惠的关系。

The internal structure of the pavilion is confronted by the soft outside adaptations that reveals the unstable relationship of the original warehouse as well as the climbing walls themselves. We could say that there is a reciprocal relationship in the search for the equilibrium.

 © Diana Quintela

戴安娜·奎尔塔

该项目的规模似乎是不确定的，因为使用大量的木材，重叠垂直，以使视觉关系。因此，与透明的图像形成鲜明对比的是，在可见图像和物理体验之间产生了轻微的矛盾。

The scale of the project appears to be somehow uncertain due to the use of massive pieces of wood, overlapped perpendicularly in order to allow the visual relationships. Thus there is an austere character that contrasts with a transparent image creating a slight contradiction between the visible image and the physical experience.

这些木块严格地在内部表面对齐，以便在内部保持一定的平静，而它们在整个外部表面上不对齐，这些表面以不明显的方式重复着攀爬区域的一些主要模式。因此，假设所有的架构都有一个隐含的表现性特征，空间只是创造了一个动作的可能性。随着这种可能性的建立，这种行为肯定会变得不可预测，如果发生或不发生，它就会独立生活。

These wooden pieces are strictly aligned in the inner surfaces, in order to give a certain calmness inside, while they are misaligned in the whole of the outer surfaces which repeats in a not imposing neither evident manner some of the main patterns of the climbing areas. Therefore the space is just creating the possibility of an action assuming that all Architecture has an implicit performative character. The act becomes definitely unpredictable with the construction of this possibility and it lives independently if that happens or not.

 © Diana Quintela

戴安娜·奎尔塔

Architects Atelier JQTS

Location Lisbon, Portugal

Category Store

Architects in Charge João Quintela, Tim Simon

Project Year 2014

Photographs Diana Quintela