架构师提供的文本描述。博物馆坐落在保护区的自然斜坡上，尽管它代表了一个对比，因为它的当代线条，这并没有从整个世俗环境的主角。相反，人们认为这是一种“对话”，与其建立的基础是过去和现在的一次会议，一次保证为未来保存历史的会议。

Text description provided by the architects. The museum is located on the natural slope of the sanctuary’s ground, and, even though it represents a contrast because of its contemporary lines, that does not take away the protagonism from the whole secular setting. On the opposite, it was thought in a way as to ‘dialogue’ with the grounds where it has been built, as a meeting of past and present, one that guarantees the preservation of history for the future.

这一对话与项目插入的理由，也是对人民，它注定是古斯塔沃彭纳的设计的主要特点之一。具体来说，当谈到这个博物馆的时候，这个概念就超越了这一点。由于该遗址被世界遗产组织列入名单，而且它有一项仪式化的使命，因此，实施一座被18世纪建筑包围的当代建筑，比其他情况下更应该尊重地形-它使我们回到巴洛克式的“寻找天堂”的原则，因为它位于斜坡的顶部-并对周围环境的象征表示敬意。

This dialogue with the grounds where the project is inserted and also to the people to which it is destined is one of the main characteristics of Gustavo Penna’s designs. Specifically speaking, when it comes to this museum, the concept went beyond that. Because the site is listed by the World Heritage and because it has a ritualistic vocation, the implementation of a contemporary building which is surrounded by edifications from the 18th century should, even more than in other cases, respect the topography – one that takes us back to the baroque principle of “search for the heavens”, since it is located on the top of a slope – and to pay reverence to the symbolism of its surroundings.

博物馆的建筑虽然是当代的，但通过该项目的一些特点，它与该遗址数百年来一直存在的语言相协调：中性的植入，从不与主要建筑群进行激烈的竞争；建筑的“节奏”，其开口、比例、对齐和低音与建筑群其他建筑的规模相似；用石头建造的巨大的地基，这在建造圣所的时候是很特别的，它使用的是自然存在于那个地区的石头，所以他们对环境没有“异样”的感觉；较轻、更多液体的上部和墙壁涂上矿物油漆-同样用于修复基督的台阶，礼拜堂和主教堂本身，这是被以弗所批准的；用古斯塔沃·彭纳的话说，这座建筑的长而光滑的曲率“在斜坡上展开，呈凹形，与朝圣路线下面椭圆形的形状相呼应，就好像它们都适合对方一样”。

Despite being contemporary, the architecture of the museum harmonizes with the language that has been present in that site for centuries, through some of the project’s characteristics: a neutral implantation, never competing volumetrically with the main architectural complex; the ‘rhythm’ of the building, with its openings, proportions, alignments and hypsometries in similar scale to the rest of the complex; the immense foundation built in stone, which is much peculiar of the times when the sanctuary was built, by using stones that are naturally present in that region, so they do not feel ‘foreign’ to the setting; the lighter, more fluid upper portion and the walls whitewashed and painted with mineral paint – the same used in the renovation of the Christ’s Steps chapels and the main church itself, as approved by the Iphan; the long and smooth curvature of the building, which “spreads itself on the slope, in a concave shape that echoes the oval shape of the pilgrimage route right under it, as if they both fit each other”, in the words of Gustavo Penna.

在3500平方米的建筑面积内，博物馆分为三层。在主要层面，有一个接待厅和一个永久性展览室，由四个较小的空间组成：一个介绍室、展览走廊、展览室以及一个礼品店和咖啡馆。在较低的层次，有一个大厅和通往永久和临时展览区的通道，还有图书馆和文献区(这将巩固博物馆作为巴西巴洛克的参考中心)和行政部门。还有一个开放的，没有遮挡的圆形剧场。最后，在地下层面，有巴洛克参考中心，一个石材相关作品的工作室。

In 3,500m² of built area, the museum is divided into three floors. On the main level, there are a reception hall and the room of permanent exhibition, comprised of four smaller spaces: an introductory room, the exposition corridor, the exhibition room and a gift shop and café. On the lower level, there is a hall and an access to the area of permanent and temporary exhibition, and also to the library and documentation area (which will consolidate the museum as a reference center for the Brazilian baroque) and to the administrative section. There is also an open, unsheltered amphitheater. And finally, on the underground level, there is the Reference Center for the Baroque, an atelier for stone-related work.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

“对我来说另一个极其重要的方面是，这是与十二先知并列，这是阿列亚迪尼奥的杰作，在整个美洲历史上最大的艺术家。还有六个小礼拜堂描述了激情，这是非常美妙的。我们的设计必须是永恒的，尽管它也是自己时代的见证，并自豪地陈述了它的诗意、尊重和平衡。彭纳描述说，康戈纳博物馆的建筑感觉足够安全，可以沿着善良、尊敬、良知和尊重波姆·耶稣·德·马托辛霍斯保护区的道路前进。

“Another aspect of extreme importance to me is that this is all side by side with the Twelve Prophets, the masterpiece of Aleijadinho, the biggest artist in the history of all Americas. And it’s also there with the six chapels that describe the Passion, which are wonderful. Our design had to be a timeless one, even though it’s also a witness of its own time and is proud to state its poetry, respect and balance. The architecture of the Congonhas Museum feels secure enough to trail the path of kindness, reverence, conscience and respect for the Bom Jesus de Matosinhos Sanctuary,” Penna describes.

“博物馆想要赞扬象征轴心，它将神圣、记忆和日常生活的不同层面结合在一起。我们希望建立一种纽带，一种与象征基础的联系，以维护历史和艺术收藏的原有等级、一致性和坚实性，重申和确保整个遗产，“项目协调员兼建筑师劳拉·佩纳补充说。

“The museum wants to praise the symbolic axis that unites the different planes of sacred, memory and everyday life. We wanted to establish a bond, an association with the symbolic grounds, in order to preserve the preexisting hierarchy, the consistency and the solidity of the historic and artistic collection, the reaffirm and ensure this whole heritage,” adds project coordinator and architect Laura Penna.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

博物馆的内部是由流体空间构成的。“干净，白色，清晰，一点也不零碎。古斯塔沃·彭纳解释说：“这是巴洛克时代的产物，在那里没有破裂，只有一条曲线，一条通往天堂的道路。”在博物馆的空间，建筑解决方案的目的是提供尽可能多的照明资源，以使更灵活和丰富的可能性，以创造博物馆的艺术景观。通过在永久展览室的干燥墙壁上的竖井，通过周围地区地板上的特征和工具，可以得到任何博物馆的版面布置。

The inside of the museum is made out of fluid spaces. “Clean, white, clear, not fragmented at all. It’s baroque itself translated by contemporaneity, where there is no rupture, but a curve, a way to heaven,” Gustavo Penna explains. In the spaces of the museum, the architectural solutions were aimed to offer as many lighting resources as possible, in order to make more flexible and enrich the possibilities for the creation of museographic sceneries. Through shafts in the dry walls of the permanent exhibition room, and through features and implements in the flooring of the surrounding areas, it is possible to come up with any museographic arrangement.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

The Collection

如果康冈哈斯博物馆的建筑模仿周围环境，将建筑整合到原有的遗产中，那么在馆内藏品就是城市的表现和构成：信仰、奉献、阿列亚迪尼奥的作品和形象，以及孔戈尼亚本身的民族、历史和文化特征。Sérgio Rodrigo Reis说：“博物馆将该城描绘成一件艺术作品，一处圣地，一种遗产的代表，一种信仰的展示，通过展示旧物和文献、电影、出版物和研究十二先知的复制品，以保存它们作为巴洛克艺术的标志，”Sérgio Rodrigo Reis说，市政文化、休闲和旅游基金会主席(文化基金会、拉泽尔·图里斯莫·富姆邪教组织)，他将负责博物馆的管理工作。“康戈尼亚斯在巴西开创了‘遗址博物馆’的概念，意思是说，它的建造是为了提高人们对它所处位置的了解。”

If the architecture of the Congonhas Museum mimics its surroundings, integrating the building into the preexisting heritage, then on the inside the collection is the representation of the city and what formed it: faith, devotion, the work and figure of Aleijadinho, and Congonhas itself, with its ethnic, historic and cultural characteristics. “The museum portraits the town in its dimensions as a work of art, a sacred place, a representation of the heritage and a demonstration of faith, through the exhibition of the ex-votos and the documentation, the films, publications and the study of the reproductions of the Twelve Prophets, in order to preserve them as a mark of baroque art,” says Sérgio Rodrigo Reis, president of the Municipal Foundation for Culture, Leisure and Tourism (Fundação Municipal de Cultura, Lazer e Turismo – Fumcult), who is going to be responsible for the administration of the museum. “Congonhas inaugurates in Brazil the concept of a ‘site museum’, meaning, one that was built to improve the understanding of the place where it is located.”

 Section AA

AA节

这个永久性展览由342个前展览组成，该展览可追溯到18世纪至20世纪，由伊凡于2011年收购的莫拉·卡斯特罗(Márcia de Mora Castro)的私人收藏品组成。从这些片段中，不仅可以更好地理解虔诚和信仰的整个过程，而且能够更好地理解其象征意义的文化丰富性。此外，在以前的画派中，也有一种真正的享受：一幅19世纪由欧拉西奥·文图拉(EUCLáSiO2 Ventura)在木板上创作的画，这是唯一幅已知的亚历亚迪尼奥(Aleijad尼奥)形象。它于1910年在康戈尼亚被宣布失踪，但后来被一位收藏家买下，然后返回米纳斯吉拉斯政府。一年前，博物馆开始谈判-成功地-将作品归还康戈纳。

The permanent exhibition is composed of 342 ex-votos that date from the 18th to the 20th centuries, from the private collection of Márcia de Moura Castro, acquired by Iphan in 2011. From the pieces, it is possible not only to better understand the whole process of devotion and faith, but also the cultural richness of its symbolism. Also, there is a genuine relish among the ex-votos in terms of votive offerings: a painting, made on a wooden board in the 19th century by Euclásio Ventura, which is the only known image of Aleijadinho. It was declared missing in Congonhas in 1910, but was bought by a collector afterwards and then returned to the Minas Gerais government. A year ago, the museum started negotiating – successfully – the return of the piece of work to Congonhas.

另一个重要的藏书是关于信仰、奉献、亚历亚迪尼奥的作品以及康戈尼亚的历史和文化的综合参考图书馆。它包括大约4，000本书和3，000份报废，从私人图书馆、选定的城市图书馆以及联合国教科文组织和伊凡图书馆购买。即使在礼品店，康戈尼亚的文化也是存在的：自从他成为Fum校的领袖以来，Sérgio Reis就通过“拯救信仰声明”，让整个社区参与了博物馆的植入过程。这意味着，生产圣克鲁斯传统十字架的当地工匠(用绉纸制作，通常挂在屋外)、用约伯的泪珠做成的玫瑰花、用盐制成的地毯、木屑和肥皂石，以及游行前的装饰，都会把他们的作品作为纪念品出售给游客。

Another important collection is the consolidated reference library on the themes of faith, devotion, the work of Aleijadinho and on the history and culture of Congonhas. It comprises around 4,000 books and 3,000 newspaper scraps, acquired from private libraries, from selected city libraries and also from Unesco’s and Iphan’s. Even in the gift shop, the culture of Congonhas is present: ever since he became the head of Fumcult, Sérgio Reis has involved the whole community in the process of implantation of the museum, through “rescuing the statement of faith”. That means the local artisans who produce the traditional crosses of Santa Cruz (made in crepe paper and usually hanged outside of houses), the rosaries made out of Job’s tears beads, the carpets made of salt, sawdust and soapstone and the decoration of the processions’ andores will see their work for sale to visitors as souvenirs.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

孔戈尼亚斯博物馆的开幕还将使人们看到以前在波姆·耶稣·德马托辛霍斯保护区实施的行动，例如“十二先知”和描绘受难的教堂的戏剧照明；巴西第一个虚拟访问城市的应用程序(以及通过www.eravirtual.org网站访问圣殿)；另一款带有音频指南的应用程序，可供游客在手机上下载，并在参观圣所时提供所有信息；在博物馆的圆形剧场(有100个座位)进行声学表演，以重新发现米纳斯的殖民音乐；以及发行三种出版物(一种涵盖博物馆收藏，另外两种在康戈尼亚斯展出)。

The opening of the Congonhas Museum will also bring visibility to actions that have been previously implemented in the Bom Jesus de Matosinhos Sanctuary, like the theatrical lighting of the Twelve Prophets and the chapels that depict the Passion; the first app in Brazil for a virtual visit to a city (and to the sanctuary within, through the website www.eravirtual.org); another app with an audio guide that can be downloaded by a visitor on their phone and makes all the information available while visiting the sanctuary; acoustic performances in the museum’s amphitheater (with 100 seats), intending to rediscover the colonial music of Minas; and the release of three publications (one covering the collection of the museum and two others on Congonhas).

另一个行动，一个更微妙的行动，涉及到阿列亚迪尼奥的十二个先知的复制，由于天气的原因，这些预言正在慢慢恶化。博物馆领导的一个研究团队一直在通过两个过程来研究这些人物的复制：第一个过程(已经被用来复制其中的两个，使用皂石树脂)是一个高科技的过程，包括扫描雕像以供以后复制。第二个过程是一项关于这些作品的模具的研究，它是在20世纪60年代进行的(就像罗丹过去所做的那样)，目的是看看这些作品的复制是否可能。

Another action, a more delicate one, concerns the reproduction of the Twelve Prophets of Aleijadinho, which are slowly deteriorating due to the weather. The museum leads a research team that has been studying the reproduction of the figures through two processes: the first (that has been used already to replicate two of them, using a soapstone resin) is a high technology one and consists in scanning the statues for later reproduction. The second process is a study involving molds of the works, made in the 1960s (like Rodin used to do) to see if the reproduction from them would be possible.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

Architects Gustavo Penna Arquiteto e Associados

Location Congonhas, Congonhas - MG, Brasil

Category Museum

Architects in charge Gustavo Penna, Laura Penna, Norberto Bambozzi, Alice Leite Flores, Ana Isabel de Sá, Eduardo Magalhães, Fernanda Tolentino, Gabriel de Souza, Henrique Neves, Ivan Rimsa, Julia Lins, Juliana Couri, Laura Caram, Letícia Carneiro, Naiara Costa, Natalia Ponciano, Oded Stahl, Patrícia Gonçalves, Paula Salum, Raquel Resende

Area 3625.0 m2

Year 2015

Photographs Leonardo Finotti