地面轻轨在两条钢线上平稳地滑行到地面,没有发出太大的噪音。

钢轨的实施是由配额制度规定的,按照严格的规则,没有主观考虑的空间。

The surface light rail glides smoothly to the surface on two lanes of steel, without making much noise.

The implementation of the rails is imposed by a quota system, according to strict rules, with no room for subjective considerations.

钢轨必须被纳入街道(在紧急情况下,消防员必须能够通过)。材料可以是花岗岩方块、沥青垫或草毯。

出于声学方面的考虑,栏杆被支撑在一个浮动的板块上,板块上垫有泡沫橡胶,接收钢制部件。

Steel rails must be incorporated into the streets (in an emergency, firefighters must be able to pass). Materials can range from granite cubes, asphalt mat or grass carpet.

For acoustic reasons, the rails are supported on a floating slab, padded with foam rubber, which receives the steel parts.

这个系统的实施需要拆除街道,因此也需要拆除整个基础设施。

新的下水道、雨水、煤气、电力、电话、有线电视、光纤,有时还有管道,都必须与将要建造的地铁系统一起生活–20×20米的多管箱。

The implementation of this system requires the demolition of the streets and, consequently, the entire infrastructure.

New sewerage, storm water, gas, electricity, telephone, cable TV, fiber optics and sometimes piping, have to live with the Metro system to be built – multi-tube boxes of 20 x 20 meters.

但地铁在表面上的问题,不仅仅是表面,我们必须看向天空,航空公司和照明。这些都可以悬挂在中央的 “柱子 “或两个边柱上。

当街道的宽度不允许该系统时,航空公司就用电线从立面悬挂到立面。

But the problem of the metro on the surface, is not only the surface, we must look to the sky, airlines and lighting. These can be suspended from a central “post” or two side posts.

When the width of the street does not allow the system, airlines are suspended by wires from façade to façade.

问题通常是 “NUAGE “玻璃外墙或外墙上的7厘米的砖。

我们从中心到中心工作(地铁通道总是不灵活的),剩余的部分被分配到其他车辆停在适当的地方,和路线,以达到门槛。

The problem is usually the “NUAGE” glass facades or brick of 7 cm on the outer wall.

We work from center to center (the metro channel is always inflexible) and the remainder is distributed to other vehicles parked where appropriate, and routes to reach the thresholds.

我们可以进行材料的过渡,坡度的变化,但门槛是 “神圣的”,就像在一个陌生人的肩膀上玩耍。

从肩膀到肩膀,我们交换地板、纹理、步行、向导、反向导、灯杆、树木。这并不是说我们想改变地理环境,而是 “地铁力量”。

We can make transitions of materials, changes in slope, but the thresholds are “sacred”, like playing on the shoulder of a stranger.

From shoulder to shoulder we exchange flooring, textures, walks, guides, anti-guides, light poles, trees. It’s not that we want to change the geography, but the “Metro forces”.

当有困难时,我们使用 “Transmetro”,”Normetro”,它反过来与地铁、商会、教区委员会、居民和商人进行沟通。

在被批准 “执行 “后,交叉和扩大的街道产生了环形路、广场、左边的地方、小广场、有树的广场、停车场和为什么不叫 “大道”–Avenida da República。Gaia/Matosinhos开始出现。

When there are difficulties, we use the “Transmetro” the “Normetro” which in turn communicates with the metro, the Chamber, the parish council, residents and merchants.

After being approved “for execution”, the streets that intersect and expand yielding roundabouts, squares, left places, small squares, squares with trees, parking and, why not, “Boulevards” – Avenida da República: Gaia / Matosinhos begin to emerge.

如果没有这一点作为我们的天职,地铁就会建造一些地方,一些角落,一些城市的组合,它吸引了大都市–盖亚、波尔图、马托西尼奥斯、马亚、特罗法、维拉-杜康德、波沃亚-德瓦尔津、贡多马尔等等。

城市的变化不是由政治法令决定的,而是由其生存和发展所必需的系统的出现决定的。

Without this as our vocation, the Metro builds places, nooks, combinations cities, it draws the Metropolis – Gaia, Porto, Matosinhos, Maia, Trofa, Vila do Conde, Povoa de Varzim, Gondomar and more.

Cities do not change by political decree, but by the appearance of the systems necessary for their survival and development.

罗马人也是如此,在两条交叉的路线上,他们设计了Cardus和Decomanus,并在中心设计了论坛。

中世纪也是如此,论坛是大教堂广场,是用被拆除的神庙的石头建造的。

So it was with the Romans, on two routes that crossed, they designed the Cardus and Decomanus, and in the center, the Forum.

So it was in the Middle Ages, the Forum was the Cathedral Square, built with the stones of the demolished temple.

在巴洛克时期也是如此,通过辐射中心轴的设计,这个大教堂与长城的门相连。

在新古典主义时期也是如此,大门被拆除或重新设计和扩大,以连接道路,成为被修道院包围的广场。

It was so in the Baroque, with the design of radiocentric axes, this Cathedral was linked to the doors of the Wall.

It was so in the Neo-Classic, gates were demolished or redesigned and expanded for linking the roads and became squares surrounded by convents.

十九世纪,随着铁路的发展,一些修道院成为车站(圣贝尼托)。

二十世纪的轻轨也是这样,(马托西纽斯/特立尼达)。

It was so in the nineteenth century with the railway, some convents became stations (San Benito).

It was so in the twentieth century, with the light rail (Matosinhos / Trinidad).

二十一世纪也将如此,轻轨必须被纳入一个不能推迟的新地理(相当即兴)的计划系统。

“国家很小,我们也很少……” (Jose Cardoso Pires),但我认为我们会成功。

It will be so in the twenty-first century in which the light rail must be integrated into a planned system for new geography (quite improvised) that cannot be postponed.

“The country is small and we are few …” (Jose Cardoso Pires), but I think we will succeed.

Architects: Eduardo Souto de Moura
Year : 2005
Photographs :Luis Ferreira Alves
Collaborators : Arq. André Campos, Arq. Ricardo Tedim, Arq. Eduardo Carrilho, Arq. Joana Pinho, José Carlos Mariano, Arq. Bernardo Durão, Arq. Diogo Crespo, Arq. Manuel Pais Vieira, Arq. Nuno Flores, Arq. Nuno Lopes, Arq. Tiago Coelho, Arq. Tiago Figueiredo, Arq. Eduardo Pereira, Pedro Chimeno Soares da Costa – Gabinete de Projectos
Structures : CENOR – Projectos de Engenharia, Lda.; COBA – Consultores para Obras, Barragens e Planeamento, S.A.; CJC – Engenharia e Projectos, Lda.; VIA PONTE – Projectos e Consultoria de Engenharia, Lda.
Hydraulics : FASE – Estudos e Projectos, S.A.
Construction : Normetro ACE
Civil Construction : Transmetro (Soares da Costa, Somague, Impregilo)
Electromechanical : Balfour Beatty Rail
Signage : Bombardier Transportation
Maintenance : Transdev
Engineering : Semaly
Coordinator : Arq. Adriano Pimenta
City : Porto
Country : Portugal