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葡萄牙

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建筑

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ATELIER JQTS exhibition Pavilion wood 展覽建筑 木材

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博物館 文化建筑

Povera Pavilion 是為Almada歌劇節(jié)慶祝藍(lán)色劇院（Teatro Municipal Joaquim Benite, 由Manuel Gra?a Dias與Egas José Vieira設(shè)計(jì)）10周年而搭建的。這座橢圓形的建筑，使用的材料是粗加工的松木條，設(shè)計(jì)師通過展示原始的質(zhì)感為設(shè)計(jì)增色。通常在劇院中支撐舞臺(tái)布景的三角形構(gòu)件，經(jīng)過設(shè)計(jì)，作為一種全新的元素構(gòu)成了整座建筑。一根柱體和一條連接起建筑兩端的橫梁形成了建筑的入口，并賦予整個(gè)結(jié)構(gòu)以穩(wěn)定感。因?yàn)檫@座臨時(shí)建筑面對著劇院的兩個(gè)出口，小劇場入口的構(gòu)成元素通過自身的顏色、位置和質(zhì)感，非常醒目地將其呈現(xiàn)了出來。

Usually a scenography in theater appears as a consequence of a certain text and a certain sequence of actions. Could we conceive it in the opposite direction? Would it be possible to use space as a way of anticipate and contribute the whole action as an outline condition? The scenography, or as we would argue, the Architecture itself, might influence the play and favor for certain actions instead of some others in an informal and none imposed way. Space, text and action could come together in a non hierarchical order and in a close relation and intimacy. Rossi says that “theater has to do with the happening: his beginning, development and conclusion. Without happening there’s no Theater and there’s no Architecture”.

POVERA Pavilion was conceived for the Almada Theater Festival in order to celebrate the 10th anniversary of the Blue Theater (Teatro Municipal Joaquim Benite, by Manuel Gra?a Dias and Egas José Vieira). It is an elliptical structure made out of pine wood with a rough finishing which exposes and accepts his artisanal condition as an added value. It was developed and build together with a group of seven students. The small triangular element that is usually used in theater as a physical support for the bidimensional scenogaphies (and hidden behind the stage) was redraw as a new element that generates the whole project. The invisible element is taken from his original context and used with very different proportions as to assume itself as the central element. A column and a beam in both extremes give stability to the overall structure and define the entrance. Those crucial constructive elements appear almost with a figurative character due their flat finishing, color and position since they are facing the two existing theaters there.

Povera再現(xiàn)了在一些中世紀(jì)劇場中出現(xiàn)的中央空間的類型特征。同時(shí)它也借鑒了羅馬劇場的一些特點(diǎn)，后者被認(rèn)為是古典劇場的集大成者，橢圓形的舞臺(tái)正是從它們而來。這座劇院前的小建筑試圖拯救這些傳統(tǒng)的空間樣式，同時(shí)探索整個(gè)事件與文脈之間的關(guān)系。總之，這座建筑要展現(xiàn)一種民主：舞臺(tái)和觀眾區(qū)在一個(gè)整體的空間內(nèi)。觀眾身處的場景同演員一樣，以一種活躍的方式參與到表演之中。表演的主要空間是一個(gè)“空空間”，表演者將在那里建造自身的空間。這一空間雖然被定義，卻不是封閉的，每個(gè)人都可以從外部看得到。它暗示了某種空間的假設(shè)，也或許會(huì)影響到不同的表演形式。

POVERA recuperates the central spatial typology from some medieval theater representations. And it also reports to the idea of the roman amphitheaters since they were conceived as a formal combination from the classical theaters and they introduced the elliptical stage as well as a subtle different function. The proposed pavilion for the theater festival tries to rescue some spatial patterns of those spaces and to explore the relation with the whole event and context. Nevertheless it is propositive facing it democratization: The stage and the audience area are in one and the same space. The audience lives the condition of the actor and contributes in a very active manner. The actor lives the condition of the audience as he observes and analyses the whole action. The main space for the action is “the empty space”, the apparently unbuilt space. The action builts itself in there. The space is defined but not closed so everyone can see it from the outside as well. It indicates some spatial assumptions and might influence different actions without imposing any.

Goncalo M. Tavares在著作Atlas do corpo e da imagina??o中描述了兩種不同的場所營造的方式：受體（receptors）運(yùn)動(dòng)，即以一種積極地方式調(diào)整自身來接受某種動(dòng)作；逸體（emitter）運(yùn)動(dòng)，即通過提議和改變周圍的環(huán)境來做出相反的動(dòng)作。Povera的位置恰在音樂節(jié)入口和主舞臺(tái)中間。人們被邀請走進(jìn)這一空間中來，同時(shí)正有演出在此上演——在人們到來之前，離去之后，永不停止，卻沒有一個(gè)演員。觀眾從中穿梭，成為演出的一部分。就觀眾來說，他們在舞臺(tái)上既做受體運(yùn)動(dòng)又做著逸體運(yùn)動(dòng)，人生的舞臺(tái)亦然。這就是所謂的“劇院是建筑終止之處，卻是想象和胡鬧開始的地方”罷。

In his book “Atlas do corpo e da imagina??o” (Atlas of the body and the imagination) Gon?alo M. Tavares talks about the construction of situations in two types: the receptors movements of existence, the ones that adapt themselves by receiving the actions in a passive way, and the emitting movements of existence, the ones that work in the opposite way by proposing and changing the circumstantial conditions. POVERA is located just in the middle point between the entrance of the Festival area and the entrance to the main stage and the people is invited to walk through the space where a performance is taking place. It starts before the first person has arrived and finishes after the last one has left, with no one. The audience is invited to see and to make part of the play simple by passing thought and change the action. So the audience is simultaneously receptor and emitter of movements inside the stage that at the end is the life itself, it’s the routine, the ritual and the everyday life. Is it really true that “theater is the place where the Architecture ends and the world of the imagination and the foolishness begins”?