© Fernando Guerra | FG+SG

费尔南多·格拉

但这栋建筑并不仅仅是一条规则。它主要是一组变体的物化。主规则的坡道，延伸49米和58厘米，在每一层上分成两个垂直段，需要一个11和十分之一的坡度，或者增加13米和39厘米的延伸，坡度为8.73%，才能达到5米半的楼层差。因此，显而易见的选择，这意味着建筑的第一组空间形式的变化，是坡道范围的增加：第一组变化将决定建筑物的视觉特征。展览室角落的秩序得以维持，坡道一角的秩序发生了变化。原来的周边仍然在另外两个角落物化，由矩形的对角线决定，矩形的对角线接收建筑物的两个楼梯。

But the building is not just a rule. It is mainly the materialization of a set of variations. The ramps of the prime rule, with an extension of forty-nine meters and fifty-eight centimeters divided into two perpendicular segments on each level, would need either a slope of eleven and a tenth percent or an increase of thirteen meters and thirty-nine centimeters in its extension with a slope of eight point seventy-three percent in order to achieve the five meters and a half difference between floors. So the obvious choice, which implies a first set of spatial-formal variations on the building, is for the increase in the extent of the ramp: the first of a set of variations that will determine the visual identity of the building. The order of the corner of the exhibition rooms is maintained; the order of the corner of the ramps is metamorphosed. The original perimeter still remains materialized at the two other corners, determined by the opposite diagonal of the rectangle, which receives the two staircases of the building.

 © Fernando Guerra | FG+SG

费尔南多·格拉

通过保持建筑物的原始周长、坡道的原始位置以及斜坡的初始起点和终点，坡道达到所需程度的唯一空间形式的可能性是室外和/或室内壁架的剥离。这座建筑实现了这两种可能性。原有的坡道被复制为新的分叉坡道：外部直线坡道和内曲线坡道。坡道的每一段飞行由三段组成：第一段为线性段，第二段为三条弧线。每一次飞行达到相同的高度，是连续楼层的一半，两米和七十五厘米，因此总长度与其斜坡的水平分量之和相同。在三条曲线坡道和三条直线坡道之间，一座全新的中庭拔地而起：一个开放的外中庭，它的天花板就是天空。

By maintaining the original perimeter of the building, the original position of the ramps and the original start and end points of the slopes, the only spatial-formal possibility for the ramps to achieve their needed extent is the irruption of outdoor and/or indoor ledges. The building materializes both possibilities. The original ramps are duplicated into new bifurcated ones: an external rectilinear one and an internal curvilinear one. Each flight of the ramps is formed by three segments: three linear segments in the first case and three arcs in the second. Each flight reaches the same height, the half of the difference between consecutive floors, two meters and seventy-five centimeters, and therefore has the same total length as the sum of the horizontal components of its slopes. Between the three curvilinear ramps and the three rectilinear ramps a brand new atrium rises: an outside and open one, whose ceiling is the very sky.

 © Fernando Guerra | FG+SG

费尔南多·格拉

连接楼层总是一个由曲线坡道组成的飞行，另一个由直线坡道组成：上升或下降路径插入两种坡道。但从视觉上看，每一种类型都构成了虚假的连续性：在内部，只有曲线坡道的三层上升；外部，主要是直线坡道的三层。建筑的空间真实是整合的，形式的现实是孤立的。

Connecting the floors is always a flight comprised of a curvilinear ramp and another comprised of a rectilinear one: the ascending or descending path intercalates both kinds of ramp. But visually each type is combined as creating a false continuity: inside, only the ascension of the three flights of curvilinear ramp is seen; outside, mainly the three flights of rectilinear ramp. The spatial reality of the building integrates; the formal reality isolates.

 © Fernando Guerra | FG+SG

费尔南多·格拉

建筑物的新周长现在由一条由中心凸起的弧线和由切线连接的两面凹弧形成的曲线来实现。它强调曲线坡道的痕迹，但稍微修改它，使这些坡道微妙地出现在立面上。在前面和脱离这个新的曲面，视觉上连续的三个直线斜坡围绕开放的中庭。曲线坡道内外分离，是破坏建筑物主要正交性的唯一因素。

The new perimeter of the building is now materialized by a curve formed by a central convex arc and two side concave arcs connected by tangent lines. It emphasizes the trace of the curvilinear ramp, but slightly modifies it, in such a way that these ramps subtly appear in the façade. In front of and detached from this new curved surface, the visually continuous three flights of rectilinear ramp surround the open atrium. The curvilinear ramps separate inside and outside, they are the only elements that break the mainly orthogonal character of the building.

 © Fernando Guerra | FG+SG

费尔南多·格拉

两段斜坡围绕一个封闭的中庭，两个三段坡道围绕着两个中庭，一个是封闭的，一个是开放的。这就是变化。从棱镜岩石。这就是建筑的物化。

From a two-segment ramp surrounding a closed atrium, two three-segment ramps surrounding two atriums, a closed one and an opened one. That is the variation. From a prism, a rock. Thus is the materialization of the building.

这篇文章是伊戈尔·弗拉卡洛西(Igor Fracalossi)撰写的，是“巴西政坛”的文章和经典编辑。

This article was written by Igor Fracalossi, Articles and Classics Editor for ArchDaily Brasil. 

建筑师Alvaro Siza地点Avenida Padre Cacique建筑师负责lvaro Siza设计团队Bárbara RAngel和Pedro Polónia合作建筑师Michele Gigante、Francesca Montalto、Atsushi Ueno地区1350.0平方米项目年照片Fernando Guerra FG SG

Architects Alvaro Siza Location Avenida Padre Cacique Architect in Charge Álvaro Siza Design Team Bárbara Rangel and Pedro Polónia Collaborating Architects Michele Gigante, Francesca Montalto, Atsushi Ueno Area 1350.0 sqm Project Year 2003 Photographs Fernando Guerra | FG+SG