© Fernando Guerra | FG+SG

费尔南多·格拉

架构师提供的文本描述。该地区是他们建造高速公路以减少从盖亚大西洋海岸来的车辆的地方，实际上是作为一个农业保护区。这是它在发展计划中的地位，是这样的；它是在法律中规定的，并且将一直这样直到法律被改变。除了小菜地外，农业活动是不存在的.

Text description provided by the architects. The area, a place where they are building motorways in order to reduce vehicular traffic from the Atlantic coast of Gaia, is actually zoned as an agricultural reserve. This is its status in the development plan, this is how it is; it is set in law and will remain so until the law is altered. Agricultural activity is non-existent, except for the small vegetable plots.

采取的第一步是为一栋建筑划出最大允许的300平方米地块。200平方米的住宅和100平方米的建筑，我认为对于一个农民来说，在农地上建房子是合适的，而不影响我们作为一个传统的农业国家的生存。

The first step taken was to set apart the maximum allowable 300m2 plot for a building. Two hundred square meters for the residence and one hundred square meters for possible out- buildings, which I would consider appropriate for a farmer to build a home on agricultural land, without compromising our survival as a traditionally agricultural country.

 © Fernando Guerra | FG+SG

费尔南多·格拉

这是一项复杂的任务，需要各机构参与，并与许多与会者举行会议。一项艰巨的任务，但未必如此。对一些人来说，200 100等于300；这迫使我们对数学上似乎显而易见的东西做了一些修正，因为至少对一些人来说并非如此。

This was a complex task that required the involvement of various institutions and meetings with numerous participants. An arduous task but not necessarily so. For some people, 200 + 100 equals 300; this forced us to make some corrections to what had seemed mathematically obvious, because it wasn’t, at least to some people.

像往常一样，在这个国家，这只是一个时间问题，浪费时间的问题。算术问题已经解决，并保证了构建的机会。客户正在寻找一套简约的房子，它实际上符合允许的建筑面积，这是有帮助的；200平方米的房子，再加上一个车库和服务区，构成了剩下的100平方米。

As usual, in this country, it was only a question of time, of time wasted. The arithmetic question was resolved and the chance to build secured. The client was looking for a house with a brief that actually fitted the allowable building areas, which was helpful; two hundred square meters for the house, plus a garage and service areas that make up the remaining one hundred square meters.

 © Fernando Guerra | FG+SG

费尔南多·格拉

这是我为一个客户设计的第一个家庭住宅项目，客户不是来自我自己的朋友圈、熟人或熟人。由于我的作品在一本建筑杂志上发表，委员会成立了。这份简报是以一种非常清晰、明确的方式给我的：客厅、厨房、一间小书房、三间卧室、一间车库和一些储藏室，充分利用外部空间和隐私。

This was the first ever project for a family house that I designed for a client who did not come from my own circle of friends, friends of friends, acquaintances or acquaintances of acquaintances. The commission came about as a consequence of having my work published in an architectural magazine. The brief was given to me in a very clear, well defined manner: a living room, a kitchen, a small study, three bedrooms, a garage and some storage area, good use of external space and privacy.

 © Fernando Guerra | FG+SG

费尔南多·格拉

“Madalena之家”和“简报”的内容共分三卷。公共空间布局的中心卷，西边有三间卧室和两间浴室的体积，东部的体积或附件，其特点是有盖的车库区和商店和技术区的体积。简介的目的是设计一栋单层住宅，除了位于厨房上方的书房外，简报的所有要素都设在一楼。

The Madalena House and the elements of the brief were arranged over three volumes. The central volume where the social areas are laid out, the volume to the west with the three bedrooms and two bathrooms and the volume, or annexe, to the east, characterized by the covered garage area and the volume of the store and technical areas. The brief was to design a single storey house and with the exception of the study, which is located over the kitchen, all the elements of the brief are accommodated on the ground floor.

 © Fernando Guerra | FG+SG

费尔南多·格拉

中心的体积相对于其他两层来说占主导地位，是一个两层高的空间，表示客厅和餐厅都有两层高的天花板。各卷之间的几何差异突出了它们之间的差异。它们之间的连接是由具有相似几何形状的卷构成的。我选择使用粗糙的混凝土作为承重墙，试图避免超级完美，技术，日本风格的混凝土，几乎不再是混凝土。

The central volume predominates in relation to the other two, being a two storey volume expressing the living and dining rooms with their double height ceilings. The geometrical dissimilarity between the volumes accentuates their differences. The connections between them are made by volumes with similar geometries. I chose to use rough concrete for the load bearing walls, trying to avoid the super-perfect, technological, Japanese style of concrete that almost ceases to be concrete.

 © Fernando Guerra | FG+SG

费尔南多·格拉

其余的都是用玻璃结构填充的木材。一种奇怪的建筑方法，如果与通常的做法相比的话；在建筑期间引起各种奇怪的推测的东西。随着地板和墙壁的竖立和隔热，仍然没有屋顶或其他地板，而等待木匠开始在现场，它看起来更像雕塑或安装的某种形式。据推测，这将是一个新的教堂或其他一些模糊的东西，多产的想象力是能够想出来的。

The rest was filled in with timber with glass structures. A strange method of building, if compared with what is commonly done; something which led to various and curious speculations during the construction period. With the floor slab cast and the walls erected and insulated, still without a roof or other floors while it waited for the carpenters to start on site, it looked more like a sculpture or installation of some kind. The speculation was that it was to be a new chapel or some other ill-defined thing which prolific imaginations are capable of coming up with.

 © Fernando Guerra | FG+SG

费尔南多·格拉

不，它只是一座房子，它有着粗糙的混凝土墙，它背弃了北面街道的城市气息，打开了花园、阳光和农田仍然提供的隐私的享受。在里面，混凝土墙由里加的白色石膏板和松木组成，在天花板的结构上使用，在窗框中，也在结构上起作用。

No, it was just a house that, with its rough concrete walls, turns its back on the urbanity of the street to the north and opens up to the enjoyment of the garden, the sun, the light and the privacy that the agricultural land still offers. Inside, the concrete walls give over to white plasterboard and pine from Riga which is used structurally in the ceilings, and again in the window frames, which also act structurally.

 © Fernando Guerra | FG+SG

费尔南多·格拉

地板内外都是石板，强调有意的连续性。屋顶和风化一般采用铜板。书房是教堂空间的唱诗班，是客厅的特色。进入它，是通过一个明显的奇怪的外观和尴尬的楼梯，这是令人惊讶的舒适，当使用。在一个沉闷和僵化的规则的世界里，这始终是可取的越轨和纠正。

The floor is finished in slate both inside and outside to emphasize an intentional continuity. Roof and weathering generally are in copper sheeting. The study is the choir of the chapel space that characterises the living room. Access to it, is via an apparently strange looking and awkward stairs, which turns out to be surprisingly comfortable when used. This is the always desirable transgression and redress in a world of obtuse and inflexible rules.

 Floor Plan

目前，Madalena的房子就在Madalena海滩附近，那里几乎是一个乡村环境，等待着比维拉·诺瓦·德·盖亚更有压力的都市生活。

The Madalena house is near the Madalena beach, in what is an almost rural setting, for the moment; awaiting the urbanity that ever more pressurizes Vila Nova de Gaia.

Architects Carlos Castanheira

Location Madalena, Portugal

Category Houses

Architect in Charge Carlos Castanheira & Clara Bastai, Arqtos Lda.

Design Team Orlando Sousa, Vasco Melo, Ricardo Leite, Sofia Costa Reis, Demis Lopes, Luís Calheiros, João Figueiredo

Project Year 2008

Photographs Fernando Guerra | FG+SG