我以为我知道波尔图的大教堂。在我建筑学的第一年,我们去画它。从外面,从里面。最糟糕的是回廊,充满了几何图形,充满了不同的视角。不过,这与Serra do Pilar修道院的圆形回廊相比,还算不上什么,因为它有不可能的视角,我们也把它作为学校工作的一部分来处理。

I thought I knew the Cathedral in Porto. In my First Year of architecture we went over to draw it. From outside, from inside. The worst of it was the Cloister, full of geometry, full of different perspectives. Still, it was nothing to compare with the circular cloister of the Serra do Pilar monastery, with its impossible perspectives, which we also tackled as part of our school work.

这让我们尝到了绘画的乐趣。对它的品味和需求。绘画总是对想法的一种支持,一种测试它们的方式,它经常导致我们放弃它们。

This gave us a taste for drawing. A taste and a need for it. Drawing is always a support for ideas, a way to test them and it very often leads us to discard them.

我们的老师之一是Grade,Zé Grade,他过去和现在都住在附近,在波尔图最古老的房子里,或者至少是有最古老外墙的房子,在Beco dos Redemoinhos。也是在那里,我们得到了关于我们一个同事的坏消息。这事一直留在我们的记忆中,至少在我的记忆中。

One of our teachers was Grade, Zé Grade, who used to and still lives in the vicinity, in the oldest house in Porto, or at least the one with the oldest façade, in Beco dos Redemoinhos. It was also there that we were given the bad news about one of our colleagues. Something that always remained in our memory, or at least in mine.

我有时回去,在星期六,去万多玛市场,作为一个游客,或陪同游客,去参观Casa dos Vinte e Quatro,这是Fernando Távora的项目,他也是那年的老师。但再也没有画过画了。这是个遗憾,因为这个地方值得一画。当大教堂的教士叫我进去时,我从被整修工程掩盖的正门进入。我看了看中堂的黑暗和光明,又去了回廊,参观了小教堂,然后进入圣堂:宏伟的建筑、拱廊、微弱的壁画、光线。不必要的红地毯。然后,一个恐惧的声音:你想从我这里得到什么?

I went back sometimes, on Saturdays, to the Vandoma Market, as a tourist, or accompanying tourists and to visit the Casa dos Vinte e Quatro, a project by Fernando Távora, who was also a teacher in that year. But never again to draw. Which is a pity, because the place deserves it. When the cleric of the Cathedral called me in, I entered through the main door, which was camouflaged by refurbishment work. I took in the darkness and the light of the Nave, passed on to the Cloister, visited the Chapels, and entered the Sacristy: the grandiosity, the arcades, the faint frescoes, the light. The unnecessary red carpet. Then, a fearful: what do you want from me?

一扇门被打开,我们没有离开大教堂就进入了一个不同的世界。一个在我看来是农村的世界,但却是一个劣质的农村,破败不堪。在教堂、圣器室、Beco dos Redemoinhos、Guerra Junqueiro博物馆和合唱团大楼的体积之间,有另一个世界。一个由各种建筑组成的世界,连续的重建和由国家建筑和纪念碑部门进行的翻新工程的明显存在,由新国家于1927年开始,于1939年结束。

A door was opened and without leaving the cathedral we moved on to a different world. A world that appeared to me to be rural, but a poor quality rural, decrepit. In between the volumes of the Church, the Sacristy, the Beco dos Redemoinhos, the Guerra Junqueiro Museum and the Choir building, there is another world. A world of various buildings, of successive reconstructions and the conspicuous presence of the refurbishment works carried out by the department of National Buildings and Monuments, begun by the Estado Novo in 1927 and concluded in 1939.

这个天井曾经是圣堂。它曾经是大教堂的库房,但现在已经不是了。它现在是 “Claustra Velha”,尽管它比回廊更近,但随着时间的推移获得了 “老 “的名字。这些空间是一个迷宫,混乱、充实、不整齐、临时凑合。它们被用来维修和储存最不可思议的东西。好东西,有几个世纪的历史,和过时的、不合时宜的塑料一起。在迷茫地徘徊之后,我走上了风琴后面的楼梯,那是被时间侵蚀过的楼梯。我从那里走到阳台,低矮的栏杆夸大了管风琴的规模,然后走到尼古劳-纳索尼的壁画前。在没有人看到的情况下,他顽皮地涂抹了自己的名字和说法,以标出自己的领地。

The patio was once the Sacristy. It was once the treasury of the Cathedral but no longer is. It is now the “Claustra Velha”, despite being more recent than the Cloister, having over time acquired the name of “old”. The spaces are a labyrinth, chaotic, full, untidy, improvised. They are used for servicing and storing the most incredible things. Good things, centuries old, alongside obsolete and out of place plastics. After wandering around lost, I walked up a stairs behind the organ, that had been eaten away by time. I went from there to the balcony, with its low balustrade that exaggerates the scale of the organ, and on to the frescoes by Nicolau Nasoni. With no one to see it, he naughtily graffitied his name and sayings to mark out his territory.

景色很壮丽,出乎意料。我爬上库房,在回廊的屋顶上走了一圈,又爬上了圣堂的屋顶,以便看得更清楚,试图了解这一切。困难成倍增加。所以,我毕竟不了解大教堂。负责管理大教堂的教士,在费尔南多-塔沃拉的项目基础上,放弃了自己的住所,以获得一个存放库房和游客通道的房间。

The view is magnificent, unexpected. I climbed up to the Treasury, walked around on the roof of the cloister, and scrambled over that of the Sacristy, in order to have a better look and try to understand it all. The difficulties multiplied. So, I didn’t know the Cathedral after all. The Cleric, who is responsible for the management of the Cathedral, had, on the basis of a project by Fernando Távora, given up his own accommodation for the benefit of a room to house the Treasury and for visitor’s access routes.

如今,对波尔图大教堂这样的建筑的要求已经远远超出了宗教崇拜的要求。还有访客、游客、游客团体、文化活动等等。对这一切的支持,或者说现在的后勤保障,要么不存在,要么存在于隐藏在圣堂那扇门后面的混乱的空间中。

The demands on a building like the Cathedral of Porto, nowadays go well beyond those of religious worship. There are the visitors, tourists, groups of tourists, cultural activities and more. The backing to all this, or logistics as is nowadays the term, is either non-existent or exists in the confusion of spaces hidden behind that door in the Sacristy.

为了解决这些问题,我被要求提供的是。
-一个用于管理分会的行政空间。
– 一个供分会所有成员聚会的空间。
– 一个供官员和守卫使用的空间。
– 一个用于清洁、维护和保养服装、物品和装饰品的空间。
-服务性厕所。

What I’m asked to provide to resolve these issues are:
-An administrative space to be used for the management of the Chapter.
– A meeting space for all the members of the Chapter.
– A space for the officials and guards.
– A space for the processes of cleaning, maintenance and care of clothing, objects and ornaments.
-Service toilets.

所有这些的位置都要保持在破败地区的范围内。谢天谢地。很简单,但却有巨大的难度。我们采访了保管该建筑的研究所的负责人,以及建筑师安吉拉-梅洛(Angela Melo),这位对这些墙壁始终充满热情的专家。我们与在那里工作的人和住在那里的人交谈。我们与考古学家交谈。我们阅读了所有可用的资料。

The location for all this is to be kept within the confines of the run down area. Thankfully. Simple, but tremendously difficult. We spoke with the people responsible in the Institute that holds custody of the building, with the architect Angela Melo, the always present expert with a passion for those walls. We spoke with the people who work there and with the people who live there. We spoke with the archaeologists. We read everything that was available.

Architects: Carlos Castanheira, Clara Bastai
Year : 2015
Photographs :Fernando Guerra | FG+SG
Team : Pedro Carvalho, Eliana Sousa, João Figueiredo, Fernanda Sá, Rita Saturnino
Projeto De Estabilidade : Paulo Fidalgo, Eng. Civil, HDP Gabinete Projectos. Engenharia Civil, Lda.
Projeto De Instalações : Eng. Pedro Nunes, Diametro & Cálculo Eng. Ldª
Date : 2008 – 2015
City : Oporto
Country : Portugal