Congonhas Museum

由专筑网杨帆，刘庆新编译

来自建筑事务所的描述：博物馆坐落在神殿所在场地的一个天然斜坡上，尽管由于它的现代线条与原来环境形成了对比，但它并没有带走整个世俗主义设定下的这种积极主义。相反，它被认为是以“对话”的方式，建立了与场地之间关于过去和现在的一种交谈，一种对未来的历史保存的担保。

From the architect. The museum is located on the natural slope of the sanctuary’s ground, and, even though it represents a contrast because of its contemporary lines, that does not take away the protagonism from the whole secular setting. On the opposite, it was thought in a way as to ‘dialogue’ with the grounds where it has been built, as a meeting of past and present, one that guarantees the preservation of history for the future.

© Leonardo Finotti

Site Plan/场地平面图

与场地对话是Gustavo Penna建筑事务所设计的主要特点。具体而言，这个博物馆已经超越其概念。因为该场地是世界自然遗产，被赋予了神圣的使命，这个当代建筑的建造更应该围绕十八世纪的风格，甚至比在其他情况下，都尊重地形–让我们回到“找寻天堂”的巴洛克风格，因为它位于斜坡顶部，并且是对其周围环境一种尊敬的象征。

This dialogue with the grounds where the project is inserted and also to the people to which it is destined is one of the main characteristics of Gustavo Penna’s designs. Specifically speaking, when it comes to this museum, the concept went beyond that. Because the site is listed by the World Heritage and because it has a ritualistic vocation, the implementation of a contemporary building which is surrounded by edifications from the 18th century should, even more than in other cases, respect the topography – one that takes us back to the baroque principle of “search for the heavens”, since it is located on the top of a slope – and to pay reverence to the symbolism of its surroundings.

© Leonardo Finotti

即使作为当代建筑，博物馆的建筑风格仍与存在了几世纪的建筑语言相协调，主要通过以下的一些项目特点：中性风格的注入，对周边主建筑群没有竞争性的体量；建筑的“节奏”：开口、比例、类似的规模；项目运用了该地区本来就存在的石材，这是在圣殿建成的特殊时期的巨石群，所以项目能给人与周边浑然一体的感觉；由Iphan批准，项目采取了更流畅的顶部和四面用矿物质颜料粉刷的墙壁，基督教堂和主教堂本身也做了如此改造；建筑物绵长而又光滑的弧度，“传达了它本身屹立在斜坡上的特点，呼应了椭圆形的朝圣路线，仿佛他们彼此都适合对方”，Gustavo Penna说。

Despite being contemporary, the architecture of the museum harmonizes with the language that has been present in that site for centuries, through some of the project’s characteristics: a neutral implantation, never competing volumetrically with the main architectural complex; the ‘rhythm’ of the building, with its openings, proportions, alignments and hypsometries in similar scale to the rest of the complex; the immense foundation built in stone, which is much peculiar of the times when the sanctuary was built, by using stones that are naturally present in that region, so they do not feel ‘foreign’ to the setting; the lighter, more fluid upper portion and the walls whitewashed and painted with mineral paint – the same used in the renovation of the Christ’s Steps chapels and the main church itself, as approved by the Iphan; the long and smooth curvature of the building, which “spreads itself on the slope, in a concave shape that echoes the oval shape of the pilgrimage route right under it, as if they both fit each other”, in the words of Gustavo Penna.

© Leonardo Finotti

在3500m²的建成区，博物馆被分为三层。在主层，有一个接待大厅和永久性展厅，由四个更小的空间组成：门厅、展会走廊、展览室、礼品及餐饮店。其下一层，是一个大厅和通往永久性和临时性展厅的入口，也到图书馆、文档区和行政部门，还包括一个开放的露天剧场。最后，在地下一层，有巴洛克的参考中心，还有一个参与石材相关工作的工作室。

In 3,500m² of built area, the museum is divided into three floors. On the main level, there are a reception hall and the room of permanent exhibition, comprised of four smaller spaces: an introductory room, the exposition corridor, the exhibition room and a gift shop and café. On the lower level, there is a hall and an access to the area of permanent and temporary exhibition, and also to the library and documentation area (which will consolidate the museum as a reference center for the Brazilian baroque) and to the administrative section. There is also an open, unsheltered amphitheater. And finally, on the underground level, there is the Reference Center for the Baroque, an atelier for stone-related work.

© Leonardo Finotti

“对我来说另外一点非常重要的是，它可以与美国历史上最伟大的艺术家Aleijadinho的杰作并列在一起。它也有六个小教堂所描述的激情，这是美妙的。我们的设计必须是一个永恒的设计，即使它也需要一个见证自己的时间，并为阐述它的诗性、尊重和平衡而自豪。通往博物馆的路径充分表达了对BOM的耶稣马托西纽什圣所的友好、善意与尊敬。”Penna描述道。

“博物馆要赞美的是将神圣、记忆和日常生活的各个层面联合起来的象征轴。我们想要将各种象征性的理由联合起来，为了保持原有的层次性、一致性和历史和艺术收藏的稳固性，重申并确保整个遗产的重要性。”项目协调人、建筑师Laura Penna补充道。

“Another aspect of extreme importance to me is that this is all side by side with the Twelve Prophets, the masterpiece of Aleijadinho, the biggest artist in the history of all Americas. And it’s also there with the six chapels that describe the Passion, which are wonderful. Our design had to be a timeless one, even though it’s also a witness of its own time and is proud to state its poetry, respect and balance. The architecture of the Congonhas Museum feels secure enough to trail the path of kindness, reverence, conscience and respect for the Bom Jesus de Matosinhos Sanctuary,” Penna describes.
“The museum wants to praise the symbolic axis that unites the different planes of sacred, memory and everyday life. We wanted to establish a bond, an association with the symbolic grounds, in order to preserve the preexisting hierarchy, the consistency and the solidity of the historic and artistic collection, the reaffirm and ensure this whole heritage,” adds project coordinator and architect Laura Penna.

Section AA/剖面图 AA

博物馆的内部是由流动空间组成的。“干净、白色、清晰的，而不是支离破碎的。这是当代对巴洛克的定义，没有破裂，而是一条去天堂的曲线之路，”Gustavo Penna解释道。在博物馆的空间，建筑的解决方案旨在提供尽可能多的光源，为museographic的风景创造更多灵活的、丰富的可能性。通过永久性展厅的墙轴，和周边地区的地板的特点和实现方法，可以得出任何匹配museographic的做法。

The inside of the museum is made out of fluid spaces. “Clean, white, clear, not fragmented at all. It’s baroque itself translated by contemporaneity, where there is no rupture, but a curve, a way to heaven,” Gustavo Penna explains. In the spaces of the museum, the architectural solutions were aimed to offer as many lighting resources as possible, in order to make more flexible and enrich the possibilities for the creation of museographic sceneries. Through shafts in the dry walls of the permanent exhibition room, and through features and implements in the flooring of the surrounding areas, it is possible to come up with any museographic arrangement.

© Leonardo Finotti

如果这个博物馆建筑融合了环境，就能与现存的遗产也进行整合，从中收集城市的代表性元素和形成因素：信仰、忠诚、工作和Aleijadinho数据以及孔戈尼亚斯本身，伴随其民族、历史和文化的特点。“博物馆作为城镇的肖像，一件工艺品，一个神圣的地方，代表了一种传承和展示的信心，通过ex-votos、文档、电影、出版物和十二先知的复制品的研究，以维护他们作为巴洛克艺术的标志”，市文化、休闲、旅游基金会主席，博物馆负责人Sérgio Rodrigo Reis说道。“孔戈尼亚斯博物馆作为一座场地博物馆，也意味着作为一个改善人们对当地印象的场所。”

If the architecture of the Congonhas Museum mimics its surroundings, integrating the building into the preexisting heritage, then on the inside the collection is the representation of the city and what formed it: faith, devotion, the work and figure of Aleijadinho, and Congonhas itself, with its ethnic, historic and cultural characteristics. “The museum portraits the town in its dimensions as a work of art, a sacred place, a representation of the heritage and a demonstration of faith, through the exhibition of the ex-votos and the documentation, the films, publications and the study of the reproductions of the Twelve Prophets, in order to preserve them as a mark of baroque art,” says Sérgio Rodrigo Reis, president of the Municipal Foundation for Culture, Leisure and Tourism (Fundação Municipal de Cultura, Lazer e Turismo – Fumcult), who is going to be responsible for the administration of the museum. “Congonhas inaugurates in Brazil the concept of a ‘site museum’, meaning, one that was built to improve the understanding of the place where it is located.”

© Leonardo Finotti

永久性展览是由Iphan在2011年从私人收藏家Márcia de Moura Castro手中收购的342个包括从十八世纪到二十世纪的艺术品组成。从作品中，不仅可以更好地理解奉献和信仰的意义，也可以感受更为丰富的文化内涵。另外，在展品前也能感受其真正的内涵：一幅画，在十九世纪由Euclásio Ventura用木板所作，这是唯一一幅被世人所知的画。1910年它被宣布在孔戈尼亚斯失踪，但后来被收藏家买走，然后回到米纳斯吉拉斯州政府。一年前，博物馆谈判成功，该作品回到了孔戈尼亚斯。

另一个重要的收藏是综合参考图书馆，其主题为信仰、忠诚、Aleijadinho的作品以及对孔戈尼亚斯的历史和文化的研究。它包括大约4000本书和3000份剪报，这些来源于私人图书馆或选定的市图书馆，也有来源于联合国教科文组织和Iphan的图书馆的。即使在礼品店的时候，文化气息也是存在的：Sérgio Reis将“拯救信仰”的声明植入了整个博物馆的建设过程中。这意味着当地工匠制作的工艺品：念珠做出来的薏米串、盐制地毯、木屑、皂石以及矿石装饰都将作为纪念品出售给游客。

The permanent exhibition is composed of 342 ex-votos that date from the 18th to the 20th centuries, from the private collection of Márcia de Moura Castro, acquired by Iphan in 2011. From the pieces, it is possible not only to better understand the whole process of devotion and faith, but also the cultural richness of its symbolism. Also, there is a genuine relish among the ex-votos in terms of votive offerings: a painting, made on a wooden board in the 19th century by Euclásio Ventura, which is the only known image of Aleijadinho. It was declared missing in Congonhas in 1910, but was bought by a collector afterwards and then returned to the Minas Gerais government. A year ago, the museum started negotiating – successfully – the return of the piece of work to Congonhas.
Another important collection is the consolidated reference library on the themes of faith, devotion, the work of Aleijadinho and on the history and culture of Congonhas. It comprises around 4,000 books and 3,000 newspaper scraps, acquired from private libraries, from selected city libraries and also from Unesco’s and Iphan’s. Even in the gift shop, the culture of Congonhas is present: ever since he became the head of Fumcult, Sérgio Reis has involved the whole community in the process of implantation of the museum, through “rescuing the statement of faith”. That means the local artisans who produce the traditional crosses of Santa Cruz (made in crepe paper and usually hanged outside of houses), the rosaries made out of Job’s tears beads, the carpets made of salt, sawdust and soapstone and the decoration of the processions’ andores will see their work for sale to visitors as souvenirs.

© Leonardo Finotti

博物馆的开放也会带来知名度，这已在BOM的耶稣马托西纽什圣所前实施，如十二先知的舞台灯光和教堂描绘的激情；第一个是对于巴西进行虚拟访问的应用程序（通过网站www.eravirtual org）；另一个应用程序是语音导游，可以通过他们的手机下载并使访问者访问所有可用信息；博物馆的露天剧场能容100席座位，打算重新找回米纳斯殖民音乐时期的繁荣。

另一个更微妙的方式，涉及Aleijadinho十二先知书的研究，这是由于天气的慢慢恶化。博物馆的研究团队进行了两次研究：第一是使用高科技技术手段，使用皂石树脂在扫描后再现雕像。第二是涉及艺术品的模具的研究，技术来源于上世纪60年代，以验证这种方式的可能性。

The opening of the Congonhas Museum will also bring visibility to actions that have been previously implemented in the Bom Jesus de Matosinhos Sanctuary, like the theatrical lighting of the Twelve Prophets and the chapels that depict the Passion; the first app in Brazil for a virtual visit to a city (and to the sanctuary within, through the website www.eravirtual.org); another app with an audio guide that can be downloaded by a visitor on their phone and makes all the information available while visiting the sanctuary; acoustic performances in the museum’s amphitheater (with 100 seats), intending to rediscover the colonial music of Minas; and the release of three publications (one covering the collection of the museum and two others on Congonhas).
Another action, a more delicate one, concerns the reproduction of the Twelve Prophets of Aleijadinho, which are slowly deteriorating due to the weather. The museum leads a research team that has been studying the reproduction of the figures through two processes: the first (that has been used already to replicate two of them, using a soapstone resin) is a high technology one and consists in scanning the statues for later reproduction. The second process is a study involving molds of the works, made in the 1960s (like Rodin used to do) to see if the reproduction from them would be possible.

Plan Level 0,00/水平面 0,00

Plan Level -4,00/水平面 -4,00

Plan Level -8,60/水平面 -8,60

Elevations/立面图

建筑设计：Gustavo PennaArquiteto e Associados
地点：巴西，孔戈尼亚斯
主建筑师：Gustavo Penna, Laura Penna, Norberto Bambozzi, Alice Leite Flores, Ana Isabel de Sá, Eduardo Magalhães, Fernanda Tolentino, Gabriel de Souza, Henrique Neves, Ivan Rimsa, Julia Lins, Juliana Couri, Laura Caram, LetíciaCarneiro, NaiaraCosta, Natalia Ponciano, Oded Stahl, PatríciaGonçalves, Paula Salum, Raquel Resende
面积：3625.0平方米
项目年份：2015年：
摄影：Leonardo Finotti

Architects：Gustavo PennaArquiteto e Associados
Location：Congonhas, Congonhas - MG, Brasil
Architects in charge：Gustavo Penna, Laura Penna, Norberto Bambozzi, Alice Leite Flores, Ana Isabel de Sá, Eduardo Magalhães, Fernanda Tolentino, Gabriel de Souza, Henrique Neves, Ivan Rimsa, Julia Lins, Juliana Couri, Laura Caram, LetíciaCarneiro, NaiaraCosta, Natalia Ponciano, Oded Stahl, PatríciaGonçalves, Paula Salum, Raquel Resende
Area：3625.0 m2
Year：2015
Photographs：Leonardo Finotti

出处：本文译自www.archdaily.com/，转载请注明出处。