VERTIGO / Atelier JQTS

由专筑网韩平，杨帆编译

来自建筑事务所的描述：位于里斯本的VERTIGO的诞生有着特别复杂的原因，首先由于其所属的物理现实以及不同的功能需求，但主要还是由于葡萄牙的经济环境所致。该区域需要容纳一间小型的咖啡吧以及作为体育中心的接待处，兼做售卖体育器材的小商店和非正式的休息区。也许针对这种有多种不同特定要求的建筑，其可行措施就是不需要严格地考虑其字面意思，让形式遵循结构，这样活动者的行为自然而然产生，其真正的用途也将不可估量。

From the architect. Located in Lisbon, VERTIGO was born in particularly complex context due to the physical reality where it belongs,the different functional needs, but specially due to the Portuguese economical situation. This is an area that intends to host a small cafe but also a reception to a sports center as well as a small shop to sell equipment and an informal lounge area.Perhaps a possible answer to such different specific needs is to not consider them in a strict and literal sense. When form follows the structure, the action can simply appear and the real use becomes unpredictable.

© Diana Quintela

我们可以将建筑理解成作为媒介的一股重要的中坚力量。同时它在这样的定义下，也可以作为物质及非物质的事实存在。可以作为静态的物理结构，也可以是动态的、不稳定的。

We could understand Architecture as a key force of mediation. And it's also under this definition that it can exist as material and immaterial reality at the same time. As a physical structure, static, as well as an happening, volatile.

© Diana Quintela

该项目位于里斯本滨河地区的一座大型工业仓库内，在这里将打造一个攀岩中心。因此，场馆内的咖啡吧必须在外部城市环境与室内体育活动之间起到缓冲和过渡作用，同时也需要保持两者间直接的联系。VERTIGO的设计对这些做了回应，但它的出现也是对工业化时代城市区域内废弃的工业结构的重新解读的一个重要标志。

The project is located within a large industrial warehouse just on the riverfront of Lisbon and will receive an indoor climbing center.Because of this, the pavilion that hosts the café must be assumed as a transitional filter between the outer reality of the city and the inner world of the sports, keeping a direct relation with both. VERTIGO answers to this but it appears also as a position towards the abandoned industrial structures located in this area of the city and that once admitted the replacement of the man by the machine.

© Diana Quintela

建筑结构是由预制的手工混凝土块基座和手工切割的木结构，按照序列及工业的顺序进行重复的操作而建成的。是否可以隐藏建筑结构体系中存在的矛盾，而不使它日益明显呢？

The structure is built by a basement of precast handmade concrete pieces, and a wooden structure made out of handmade cut pieces, yet through a repetitive process, in series, industrial. Can the contradiction exist in Architecture without it becoming formally evident?

© Diana Quintela

Exploded Perspective/分解透视图

施工的过程遵循了相同的逻辑，而且它是纯手工制作的，建筑接受开放式作业中的不完美和一些特定的情况，以此来缩小项目和施工之间的差距。木结构都刷上了柔和的红色，以此来回应象征性的自然，这可以解读为重叠的方式，也可以说是象征着河边的起重机和集装箱以及里斯本古老的河岸或者在该区域有重要意义的其他工业结构。

The construction process follows the same logic and is done manually, accepting the imperfections and the specific circumstances of an open work that enriches the gap between project and construction.The red color that is softly applied to the wooden structure corresponds to a symbolic nature which could be read in overlapping meanings, evident in a particular way in their relationship with the cranes and containers located by the river, as well as the oldest river bridge of Lisbon or even the other industrial structures that have a strong presence in this area.

© Diana Quintela

真实色彩之间的暧昧探寻着它们之间不同的关系，甚至由于一天内日光变化所直接产生的变化空间和对环境的感知。室内的黑色金属元素应该也是一种象征，但已经成为19世纪里斯本工业时代的碎片记忆。

The ambiguity of the real color explores this and other different relations and its given by the variation of the sunlight during the day by changing definitely the perception of the space and his environment. The using of the black metal elements inside belongs also to this symbolic but fragmented memory of the industrial period in Lisbon during the nineteenth century.

© Diana Quintela

整个项目是通过小尺度的木构件重叠而成的，这些构件允许部分与整体之间的直接关系，因此部分既是部分，也是整体。本地松木的使用以及其重复且基础的施工对人们参与工作起到了积极作用，这不仅成倍地减少了建筑总成本，同时也探索了建造空间与人们之间的一种共同定义以及更深层次的关系。

The whole project is generated from the small scale by overlapping wooden pieces which allows a direct relationship of the whole to the parts, and the parts among themselves and to the whole.The use of national pinewood and its repetitive and elemental construction allows the active participation of several hands, which exponentially reduces the total cost of the building and at the same time explores a mutual identity and a deeper relationship between the  built space and people.

© Diana Quintela

VERTIGO场馆采用了开间12米，进深5米的长方形平面，场馆是在两个标高层上创建的覆盖区域。在上部空间和开放空间，你可以感受到原有仓库的高度。它的设计意图是通过基本的建筑手法，从物质层面上强调出建筑原有的结构特征：建筑的入口空间由一扇宽大低矮的门通向延展空间，但是出口却是一个高窄的开口，这也是攀岩区域的象征，同时它也作为上部空间的通高窗户。

VERTIGO Pavilion has a rectangular floor plan of 12 by 5 meters and is developed on two levels creating covered areas, upper spaces and open places where you can feel the  height of the existing warehouse. It is intended that the physical experience of the building can emphasize the pre-existing architectural features using elemental architectonical tools:the entry is made by a large and low door trough a tensioned space, while the way out is made through a high and narrow opening which monumentalizes the climbing area and simultaneously becomes an privileged window from the upper spaces.

Floor Plan/平面图

场馆的内部结构正对着柔和的室外改造，这也揭示了原来仓库和攀岩墙之间不稳定的关系，以及与攀岩墙之间不稳定的关系。我们可以说，这是在探寻平衡两者之间关系的中介点。

The internal structure of the pavilion is confronted by the soft outside adaptations that reveals the unstable relationship of the original warehouse as well as the climbing walls themselves.We could say that there is a reciprocal relationship in the search for the equilibrium.

© Diana Quintela

由于大量木构件的使用以及视觉上不断的垂直重复，该项目的规模显得隐约有些模糊。因此，增加了一个与透明图像形成对比的无装饰的构件，这也是为可见图像和物理体验间制造一点矛盾。

The scale of the project appears to be somehow uncertain due to the use of massive pieces of wood, overlapped perpendicularly in order to allow the visual relationships. Thus there is an austere character that contrasts with a transparent image creating a slight contradiction between the visible image and the physical experience.

Section 3/剖面图3

© Diana Quintela

为了打造一个完全平静的内环境，这些木构件的内表面保持严格的一致性，而外表面稍有些偏差，它没有明显地出现在攀岩区域主体的区域。因此空间只是创造假定行为（所有建筑都包含的隐藏的行为特征）的可能性。通过这种可能性的建设，这种行为变成了完全不可预测的，而且无论是否发生，它都独立存在。

These wooden pieces are strictly aligned in the inner surfaces, in order to give a certain calmness inside, while they are misaligned in the whole of the outer surfaces which repeats in a not imposing neither evident manner some of the main patterns of the climbing areas. Therefore the space is just creating the possibility of an action assuming that all Architecture has an implicit performative character.The act becomes definitely unpredictable with the construction of this possibility and it lives independently if that happens or not.

© Diana Quintela

© Diana Quintela

© Diana Quintela

Site Plan/场地平面图

Level 1/水平面 1

Level 2/水平2

Section 1/剖面图 1

Section 2/剖面图 2

Perspective/透视图

Detail 2/细节 1

Detail 2/细节 2

Detail 3/细节 3

Collage 1/拼贴 1

Collage 2/拼贴 2

Collage 3/拼贴 3

Collage 4/拼贴 4

© Diana Quintela

建筑设计：Atelier JQTS
地点：葡萄牙，里斯本
主持建筑师：João Quintela, Tim Simon
项目年份：2014年
摄影：Diana Quintela
结构工程：Daniel Maio, Urban 360
协调者：Pedro Alves
施工：António Augusto, Jaime, José Figueiredo, Pedro Alves, Tiago Martins, Nuno Batista, Marta Jerónimo, João Quintela, Tim Simon
施工志愿者：Pedro Quinteiro, Sarah Monte Alto, Hélio Morais, Leonor Oliveira, Jerônimo Sôro, Vera Marmelo, Hugo Castro Silva, Martim Vidigal, Duarte Medeiros

Architects: Atelier JQTS
Location: Lisbon, Portugal
Architects in Charge: João Quintela, Tim Simon
Project Year: 2014
Photographs: Diana Quintela
Structure: Daniel Maio, Urban 360
Cordinator: Pedro Alves
Construction: António Augusto, Jaime, José Figueiredo, Pedro Alves, Tiago Martins, Nuno Batista, Marta Jerónimo, João Quintela, Tim Simon
Volunteers during construction: Pedro Quinteiro, Sarah Monte Alto, Hélio Morais, Leonor Oliveira, Jerônimo Sôro, Vera Marmelo, Hugo Castro Silva, Martim Vidigal, Duarte Medeiros


出处：本文译自www.archdaily.com/，转载请注明出处。