Teatro Jordão–这就是我们对这座著名建筑的命名，在它的生命周期中，下层还设有 “Restaurante Jordão”（餐厅），它建于30年代，在程序上与典型的Cine-teatros（电影院）项目相对应，在全国有许多不同的例子，使当时存在的旅行公司有可能表演戏剧，首先提供电影空间，在非常早期的城市背景下引入 “现代性 “的项目之一。
Teatro Jordão, – this is how we name the well-known building that during its lifetime also housed the “Restaurante Jordão” (Restaurant) on the lower floor, was built in the 30s and corresponds programmatically to the typical Cine-teatros (Cinema Theatre) program, of which there are many and varied examples throughout the country, making it possible for the traveling companies that existed at the time to perform plays, providing above all the space for cinema, introducing one of the items of “modernity” in very incipient urban contexts.
因此，在这座建筑中，其明确的功能与另一个内容相关联，具有象征性的特点，获得并保持了原始的重要性。建筑物的记忆体现在建筑物的功能和其相关的价值之间的这种对立中。它的功能随着时间的推移而丧失–电影院被停用，餐厅被关闭–建筑也退化了，但面向阿丰索-恩里克斯大道的外墙所呈现的体积和现代性形象构成了今天整个建筑的唯一客观记忆。这个记忆，一个花岗岩和不透明的建筑，应该保持作为项目的第三个参考，在形式和体积上使所有构成新干预的元素都是自主的。这种物理的和真实的记忆被理解为需要保护的遗产，应该保持这种状态。
Thus, in this building, its explicit function is associated with another content, of a symbolic character that has acquired and maintained primordial importance. The memory of the building materializes in this dichotomy between the functionality of the building and its associated values. Its function was lost over time – the cinema was deactivated and the restaurant was closed – and the construction degraded, but the volume and modernity image translated in the façades facing Avenida D. Afonso Henriques constitute today the only objective memory of the whole set. This memory, a granite and opaque construction, should remain as the project’s third reference, formally and volumetrically making all the elements that constitute new intervention autonomous. This physical and real memory understood as heritage to be preserved should remain so.
遗产的保护与实用性的标准有关，在这里被理解为最广泛的意义，接受建筑的功能转换意味着它的转变。此外，该计划还包括修复同一时期的 “Auto Garagem Avenida “建筑，该建筑的主立面是吉马良斯的装饰艺术美学的最佳范例之一。
The preservation of heritage is connected to a criterion of utility understood here in its broadest sense, accepting that the functional conversion of the building implies its transformation. In addition, the program also includes the rehabilitation of the “Auto Garagem Avenida” building, from the same time, and which translates into its main façade, one of the best examples of an Art Deco aesthetic built in Guimarães.
拟议的新方案，表演艺术学院，视觉艺术学院，音乐学院和礼堂，由Jordão剧院的房间重新改造而成，由几个具有类似但独立活动的自主实体划分，对建筑的新图纸具有决定性意义。自主和独立的礼堂在功能上补充了主要的价值，音乐学校、表演艺术学校和视觉艺术学校，确保了独立的运作，可以举办外部和多样化的活动。礼堂（用于舞蹈、音乐和会议等）被设计成一个多功能的房间，允许其重新配置和适应各种拟议的活动。
The proposed new program, School of Performing Arts, School of Visual Arts, School of Music and Auditorium resulting from the reconversion of the Teatro Jordão room, divided by several autonomous entities with similar but independent activities, was decisive for the new drawing of the building. The autonomous and independent Auditorium functionally complements the major valences, music school, the performing arts school and the visual arts school, ensuring the independent operation that can host external and diverse activities. The auditorium (intended for dance, music and congresses, etc.) was designed as a multifunctional room, allowing its reconfiguration and adaptation to the various proposed events.
对这些建筑、这个地点和这个城市的遗产的任何理解都带有解释、个人和主观的负担。同样地，遗产恢复和保护政策，即使被一致和持续的实践所验证，也意味着必须不断地通过每次干预的背景进行比较的选择。
Any understanding of the heritage of these buildings, this site and this city carries an interpretative, personal and subjective burden. Likewise, a heritage recovery and safeguard policy, even validated by consistent and continuous practice, means an option that must be constantly compared by the context of each intervention.
该项目的最终目标是保护遗产，并打算将其置于修复和改造的范围内，而不是以整体保护Jordão剧院和Auto Garagem Avenida建筑的物理和建筑现实为逻辑，而是认为其改造是不可避免的，为该建筑分配一个明确的、概念上与Couros地区采用的方案相关的方案。当我们谈论修复和改造时，我们在第一种情况下谈论修复和更新，在第二种情况下谈论改造。
The ultimate goal of the project is the preservation of a heritage, and intends to place it within the scope of rehabilitation and conversion, not with a logic of integral preservation of the physical and architectural reality of the Teatro Jordão and the Auto Garagem Avenida buildings, but rather considers its transformation as inevitable, allocating to the building a program unequivocally and conceptually connected to that adopted for the Couros Area. And when we talk about rehabilitation and conversion, we talk about repairing and renewing in the first case and transforming in the second.
Architects: Pitagoras Group
Area : 11400 m²
Year : 2022
Photographs :José Campos, João Rey, Manuel Roque
Project Team : Raul Roque Figueiredo, Alexandre Coelho Lima, Manuel Vilhena Roque
Collaborators : André Malheiro, Isabel Rodrigues, Tiago Ranhada, Hélio Pinto, João Couto, João Carvalho, Luís Guimarães, Gonçalo Vasconcelos
Foundations And Structure : Projegui
Hydraulic Installations : Projegui
Mechanical Installations : Layout
Electrical Installations : Feris
Acoustics : Vasco Peixoto de Freitas
Audiovisual Design : Ernesto Costa
City : Guimarães
Country : Portugal