收藏家之家博物馆/工作室数据

收藏家之家博物馆/工作室数据
Collector's House Museum / Atelier Data

历史与功能的融合：该项目巧妙地将一座有着丰富历史背景的建筑转变为现代博物馆，同时保留了其原有的宗教特色。从1750年的小教堂到如今的博物馆，建筑的每一次变迁都为其增添了独特的文化价值。现任业主将个人的艺术收藏与建筑的历史完美结合，不仅赋予了建筑新的生命，也让参观者在欣赏艺术品的同时，能够感受到建筑本身所承载的历史意义。

空间与展览的创新：项目在空间设计上展现了极高的创新性。通过巧妙利用建筑的垂直性，设计了坡道、悬挂体量和螺旋楼梯等元素，不仅为不同类型的收藏品提供了展示空间，还增强了参观者的体验感。坡道的设计既实用又富有艺术感，其模块化结构便于安装和调整，能够展示大量的手杖收藏。悬挂体量则为象牙画创造了一个私密而专注的观赏环境，而螺旋楼梯则巧妙地引导游客在空间中穿梭，使整个参观过程充满了探索的乐趣。

传统与现代的平衡：在材料选择和细节处理上，项目成功地实现了传统与现代的平衡。新加入的元素采用了与展品相匹配的材料，如坡道的钢结构和金属板，以及象牙画展示区的暗色调内部，这些都与建筑的传统材料形成了鲜明对比。同时，恢复了阿尔加维亚建筑的典型材料，如赤陶瓷砖地板和粉刷过的墙壁，既保留了建筑的历史风貌，又融入了现代的设计理念。此外，照明策略的精心设计进一步强化了空间的戏剧性，通过自然光和人工光的巧妙运用，突出了展品的细节，同时也营造出与建筑原始功能相呼应的氛围。

建筑师提供的文字描述建筑简史：小教堂的建造始于1750年，在方济各会的命令下，于1772年完工，当时会众筹集了完工所需的资金。1834年，随着宗教团体的消亡，这座建筑有了各种用途，包括被用作当地的“酒馆”。1954年，现任业主的父亲收购了这座建筑，2002年，他的儿子继承了这处房产。关于该建筑的未来，现任业主João Calçada Correia解释说：“考虑到这座建筑的宗教历史，以及我是一名艺术品收藏家的事实，我认为它的最佳用途是将其改造成博物馆，从而赋予该物业一个有尊严的用途。”
Text description provided by the architects. Brief history of the building: The construction of the chapel began in 1750 under the orders of the Franciscans and was completed in 1772 when the congregation gathered the necessary funds for its completion. With the extinction of religious orders in 1834, the building had various uses, including being used as a local "tavern." In 1954, the father of the current owner acquired the building, and in 2002, his son inherited the property. Regarding the future of the building, the current owner, João Calçada Correia, explains: "Considering the religious history of this building, and the fact that I am an art collector, I believed the best use for it would be to transform it into a museum, thus giving the property a dignified purpose."

项目策略：将建筑改造成展览空间，在保护和修复现有结构的同时，引入了容纳不同收藏的新建元素：神圣艺术、特殊手杖和象牙画。鉴于现有建筑的特殊性：其大型中堂和后院，该项目侧重于设计一条同时作为展览空间的路径，以线性和连续的方式组织三个系列：在主中堂（利用其墙壁和壁龛）中，展示了神圣艺术系列，象征性地强化了原始建筑的起源。
Project Strategy: Adapting the building into an exhibition space resulted in an intervention that balanced the preservation and restoration of the existing structure with the introduction of newly built elements that accommodate the distinct collections: sacred art, exceptional canes, and ivory paintings. Given the exceptional nature of the pre-existing building: its large nave and its rear courtyard, the project focused on designing a path that is simultaneously an exhibition space, organizing the three collections in a linear and continuous manner: In the main nave (utilizing its walls and niches), the Sacred Art collection is displayed, symbolically reinforcing the origins of the original construction.

Planta - Pavimento térreo

Cane系列沿着坡道分布，这一元素利用了建筑的垂直性。这个元素被设计成一个在空间中“漂浮和上升”的长廊，激发和刺激游客的发现感。从这个元素出发，在庭院空间上，提出了第三种结构——一个悬挂的体量，用于举办象牙绘画展览，最后是一个螺旋楼梯，将游客带回一楼，更具体地说，是前教堂后部的露台。
The Cane collection is distributed along a ramp, an element that takes advantage of the building's verticality. This element was designed as a promenade that "floats and rises" in the space, inciting and stimulating the visitor’s sense of discovery. Moving forward from this element, over the courtyard space, a third structure is proposed — a suspended volume that hosts the Ivory Paintings exhibition, ending with a spiral staircase that brings visitors back to the ground floor, more specifically to the patio at the rear of the former chapel.

Detail

为了在传统和创新之间创造平衡，新元素根据展出的艺术品类型采用了不同的材料：坡道由钢结构制成，覆盖着金属板，并涂成白色。它采用模块化设计，可容纳大量手杖（展览面积约为45延米）。其模块化设计也为其在建筑内的安装提供了便利。相比之下，存放象牙艺术品的悬挂式外部空间采用了完全黑暗的内部，创造了一个光线昏暗、亲密的空间，邀请观众专注于展出的小作品的细节。另一方面，庭院空间和中殿的主要区域恢复了阿尔加维亚（葡萄牙南部地区）建筑的典型材料：赤陶瓷砖地板、粉刷过的墙壁和主屋顶上的“canudo”瓷砖。
In order to create a balance between tradition and innovation, the new elements adopt distinct materialities according to the type of art piece being displayed: The ramp is made of a steel structure, covered with metal sheet, and painted white. It is designed modularly and accommodates an extensive number of canes (with an exhibition surface of approximately 45 linear meters). Its modularity also facilitated its installation within the building. In contrast, the suspended exterior volume, which houses the ivory artworks, adopts a totally dark interior, creating a dimly lit, intimate space that invites the viewer to focus on the details of the small pieces on display. The courtyard space and nave’s main area, on the other hand, recover the typical materials of Algarvean (southern region of Portugal) constructions: terracotta tile flooring, whitewashed walls, and "canudo" tiles on the main roof.

Sections

博物馆的正门由木头制成，漆成血红色，复制了之前的原始门模型。最后，照明策略旨在增强空间的独特性，特别是其固有的戏剧性氛围，反映其作为礼拜场所的原始功能。关于自然光，这种情况是通过有针对性的开口来操纵的，这些开口在强烈照明的区域和阴影中的其他区域之间形成对比。至于人工照明，所有的努力都集中在展品和物体的聚光灯上，而不是一般的、强度较低的均匀照明。
The main door to the museum — made of wood and painted in a blood-red color — replicates the original door model that was previously in place. Finally, the lighting strategy aimed to enhance the unique characteristics of the space, particularly its inherent dramatic atmosphere, reflecting its original function as a place of worship. Regarding natural light, this condition was manipulated through targeted openings that create contrasts between strongly illuminated areas and others in shadow. As for artificial lighting, all efforts were focused on spotlights for the pieces and objects on display, as opposed to general, more homogeneous lighting with lower intensity.