架构师提供的文本描述。作为建筑见证的波尔图·科沃宫(Porto C Vo Palace)的主导地位及其花园的华丽性，为卢舍尼亚保险公司(Lusit A Insurance Company)新的博物馆空间的设计提供了条件，使其能够在现有的城市街区内部建立起来。

Text description provided by the architects. The dominate presence of the Porto Côvo Palace as an architectural testimony and the voluptuousness of its garden was conditioning to the design of the new museological space of the Lusitânia Insurance Company, to erect in the existing city block’s interior.

 © Fernando Guerra | FG+SG

费尔南多·格拉

这种干预应以建筑元素的纯朴性为基础，赋予园林的连续性和深度，同时强调故宫的风貌效果。

An intervention of this kind should impose a coeval language based on the sobriety and simplicity of the architectural elements, offering continuity and depth to the gardens and simultaneously, emphasizing the scenic effect of the Palace.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在这种情况下，平台作为一个创造空间的元素被假定，一个直接的反射(建造的标记)的崎岖的地形特征的北端的土地。再一次，先前的存在影响了建筑形式，因为这里叠加的平台是从先前建议的表面上生长出来的。新的平面，然后，成功地，定位独特的层次，标志和等级不同的部分，整合的建筑物-一个结构的界限被强调的间隙和非正式性质，在那里的运动和变异被作为空间的标志。

In this light, the platform as an element that generates space was assumed, a direct reflex (built mark) of the rugged topography that characterizes the north end of the land. Once again, the preexistences influence the architectural form, since the here superimposed platforms grow from the previously suggested surfaces. New planes, are then, succeeded, positioning distinctive levels, which demark and hierarchize the different parts that integrate the building – a fabric whose limits assume the interstitial and informal nature are underlined, where movement and mutation are presented as indicators of space.

 © Fernando Guerra | FG+SG

费尔南多·格拉

虽然在建筑对象的组成上有标记，但平台在土地本身中被稀释，最大限度地减少了建筑物体的存在。我们现在皇宫花园里发现的景象是一个大平面的利奥斯石板，它谴责建筑并将物体正规化。

Although marking in the composition of the architectural object, the platform surges, however, diluted in the land itself, reducing to the maximum the presence of the built bodies. The image of what we now find in the Palace’s gardens is a large plane of Lioz stone that denounces a construction and formalizes the object.

 © Fernando Guerra | FG+SG

费尔南多·格拉

假设这里成功的飞机的清晰度，这堵墙引入了一个令人惊讶的因素，作为这个提议的动力。另一方面，考虑到石头本身的中立性，这一元素-干预的双重性-几乎是花园的一种人为延伸，导致了自然和建筑之间的二元性，从而导致了内部和外部之间的激烈关系。

Assuming as articulation of the planes that succeed here, this wall introduces a surprise factor as a dynamo of the proposal. On the other hand, given the neutrality of the stone itself, this element – the intervention’s bisectrix – surges almost as an artificial extension of the garden, responsible for the duality between natural and built, consequently, for the fiery relation between interior and exterior.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在室内，空间的层次性取决于它们所处的位置和它们所采用的特定结构，从而与周围的外部空间建立了多样化的关系。从概念上讲，存在一种灵活的逻辑，允许不同类型的用途，使其用途更加灵活。

In the interior, a succession of spaces is hierarchized by the position they occupy and by the specific configuration that they adopt, establishing diversified relations with the surrounding exterior spaces. Conceptually, a logic of flexibility existed, which allows distinctive types of uses, making its appropriation more versatile.

 ground floor plan

这座建筑是在四个不同的、多用途的层次上发展起来的。不同层次之间通过操纵石板进行沟通，并通过创造受控开口与外部交流-人工花园允许空间的自然照明，将室内空间投射到花园的流动网格中。因此，否定被假定为空间定义中的原始动因，以及各种展览、生活和流通区域之间的相互联系，这些区域被持续存在的光和层次间产生的空洞所强化。

The building is developed in four distinctive, multipurpose levels. The different levels communicate between themselves through the manipulation of the slabs and with the exterior through the creation of controlled openings – artificial gardens that allow natural lighting of the spaces, projecting the interior space in the fluid grid of the gardens. The negative is assumed, consequently, as a primordial agent in the space’s definition, and the interlink of the various exhibition, living and circulation areas fortified by the constant presence of light and the voids created between levels.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在这些空间的同时，收回了现有的建筑物-“俱乐部大厦”，以便安装一个自助餐厅和一个图书馆，作为博物馆空间结构的支撑区域。

Parallel to these spaces, the existing building was recovered – “Club House”, in a manner to allow the installation of a cafeteria and a library, as supporting areas to the structure of the Museological Space.