Jorge Mealha给gooood分享了他们的新作Obidos科技公园项目。更多请至：João Morgado(Photography) on gooood
该项目的摄影师是João Morgado(Photography) .

设计概念和基地状况

在2010年Óbidos市举办了一个国际建筑设计竞赛，为 Óbidos科技公园设计中心建筑群以及主广场，希望作为一个新的建筑物来容纳创意公司。

科技公园基地坐落于Óbidos外围地区，在里斯本以北大约一百公里开外的一个小而美丽的历史古镇。

Design concepts & site conditions

Back in 2010 the Óbidos Municipality launched an international architectural competition. The aim of the competition was to design the Central Buildings and Main Piazza for the Óbidos Technological Park, intended as a start-up built structure to allocate creative companies.

The Technological Park site is located in the outskirts of Óbidos, a small and beautiful historic town located approximately one hundred kilometres north of Lisbon.

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Óbidos地区仍然保持着乡村风貌特色，树林与小型农业用房保持着平衡的格局，铺装小路沿着几乎是随意的路线通过这个地区。这个用来建立Óbidos科技公园主建筑和主广场的基地曾经是A8高速路的主要补给点，如今把里斯本和国家的北部联系起来。

The Óbidos region is still characterised by a mainly rural and balanced arrangement between forest and small agricultural premises, where paved surfaces spread trough this territory in an almost random way. The plot designated to build the Óbidos Technological Park main building and main piazza uses the place where before was located the main supply site for the A8 highway construction, that today links Lisbon to the north of the country.

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设计的方案想要通过改变现有的逻辑，以扭转该区域正在进行的道路铺装工程，并且创造出尽可能多的绿色表面。被采纳的设计方案不只是简单地设计一栋建筑，而且试图为这里（重新）创造出一个以景观为主的空间结构。

设计同时也回应了竞赛提出的功能要求，那就是要在这个乡村地区为一个科技公园设置一个主广场，虽然对于我们来说这个要求有些奇怪。这个功能前提导致了设计上产生了一些疑惑。如何在这个特殊而且保持着美丽的乡村当中创造一个广场？如何在周边没有城市肌理和发展的这个地方设计（画）出一个广场？

The design strategy proposes a solution that tries to reverse the ongoing pavement process in this territory, trough a solution that tries to reverse this logic, increasing as much as possible the green surface. More than designing a building, the adopted strategy tries to (re)create a place where landscape is determinant for the spatial structure.

The design also dealt with the competition programme, which, in strange way for us, was asking for a main piazza for a technological park in the middle of the countryside. This program premise was the reason to arise some design doubts. How to create a piazza in the middle of this particular and still beautiful countryside? How to design (draw) a piazza without an urban fabric surrounding and evolving such place?

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广场，作为一个概念，是不能从使其界限和目的确定并成型的城市领域中分离出来的。在设计过程中，把对形态的研究，若干广场案例的使用和几何图形的分析，以及可能的充分性应用到这个基地上都觉得有些奇怪和别扭。那么，怎样在没有城市，也没有产生广场的都市肌理的情况下设计一个广场呢？这种设计困局，这种在没有城市的情况下设计广场的不充分条件，成为了寻找和尝试另一种公共空间代替品的关键因素。所以设计策略变为在不需要类似城市广场的前提下，寻求另外一种形式却又能达到既定公共效果的娱乐空间。

在葡萄牙一些乡村地区仍然存有一种叫做“Terreiros”的有趣的公共空间。以一些居住区和小型村落为特点，这些欢乐的公共空间的范围包括从几乎没有建筑物包围的无形的空间，到完全与小型构筑物融合与演变的空间。

The piazza, as concept, can not be separated from the urban realm that conforms and shapes its limits and purpose. The study concerning the shape, uses and geometry of several piazzas and the possible adequacy to the project site emerged during the design process as a quite strange and forced solution. So, how to draw a piazza without a city, without its generator urban fabric? This design perplexity, the inadequacy of trying to design a piazza without a urban fabric, as been a key factor to look and try to search for alternative public spaces. So, the design strategy shifted and tried to search for other kind of convivial spaces who could achieve the intended public realm without designing a piazza as such.

In several places of Portugal’s countryside still exist some interesting public spaces called “Terreiros”. Characterising some settlements or small villages, those convivial spaces range from a kind of formless shape almost without buildings surrounding them, to places completely integrated and evolved by small constructions.

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我们发现这些“Terreiros”很有趣，这些大型自由空间尽管没有成型的边界，实际上却是相当活跃的公共空间。正是在这些非常灵活的空间里，当地的小型社区才得以一年到头组织传统游行，非正式的露天市场，宗教游行，音乐会以及传统游戏和活动。这种市民空间相对不太需要依赖都市肌理存在，而且非常灵活，也有力地为日常的碰面和欢乐的活动提供机会。所以，比起画出一个城市广场，这个项目着眼于发展一个大型的，具有相似娱乐特点的公共空间，但对于和建筑环境或者几何形状的关系又更加灵活。

We found that, in a quite interesting way for us, the “terreiros”, those kind of large free spaces, where in fact quite effective public spaces despite its often formless borders. It’s in those very flexible spaces that throughout the year small communities in the region organise traditional corteges, informal open air markets, religious processions, music concerts and traditional activities or games. Much less dependent from an urban fabric, those civic spaces are very flexible and quite strong in providing opportunities to encounter and convivial activities. Then, instead of proposing to draw a urban piazza as such, the project aims to develop a large public space with similar convivial characteristics as a piazza, but much more flexible towards the relations with a building environment or geometry.

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设计竞赛的概要中表述了维持这种欢快气氛的初衷。设计决定集中于创建一个大型公共空间的目标，这个公共空间既和周边的建筑形成一种轻松自由的关系，又对自然景观是一个补充。

Maintaining the convivial aims expressed in the competition brief, the design decision focused in the aim of creating a large public space with either an easy and flexible relation with the buildings surrounding it, either as a complement of the natural landscape.

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设计研究过程中的另一个方面是对该区域大型建筑的质量和特点的关注。能够注意到在这个活跃的地方，除了小型的建成居民区，一些大型的农场和修道院也修饰着这里仍然是郁郁葱葱的地平线。这些大型的建筑结构用细小的水平线标志着这里的远景，这对设计发展来说是非常重要的一点。因此，设计看上去希望能够像是沿着景观画出一道薄薄的水平线，就像一道连续的很长的墙面。

Other aspect of research trough the design process concerned the qualities and characteristics of large buildings in this particular territory. It was possible to notice that apart from the small built settlements that somehow mark this lusty territory, we could notice some large farms or convents and monasteries scratching thin horizontal lines in the still mainly green landscape. Those larger built structures mark the territory perspective with thin horizontal lines where of crucial importance for the design development. So, the design tried to draw a building that would appear in the landscape as a thin horizontal line, as a long and continuous wall.

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另一方面，对当地名为Batalha’s Monastery和Cristo’s Convent in Tomar的大型宗教建筑的研究，发现了对设计竞赛来说有趣的一些方面。这些宗教建筑的回廊在功能要求上的具有特殊的有效性。实际上，作为一个为起步公司设计的综合体，使用者之间日常的沟通和简便的接触都是基本要求。或者说，回廊结构有助于产生强烈的视觉互动。所以，设计过程中也考虑到创建一个能联系起所有其他设计的回廊的可能性。

On the other hand, the research and study of larger religious structures in the region, namely as Batalha’s Monastery and Cristo’s Convent in Tomar, revealed interesting aspects towards the competition programme. The cloisters presented by those religious structures where of particular effectiveness for the requested programme. In fact, as a start-up companies compound, communication and easy contact between users is a fundamental aspect. Or, a cloister structure is quite effective towards the possibility of a strong visual interaction. So, the design process went also trough the possibility of creating a solution where a kind of cloister could be related with all other design premises.

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同时，深层次的知识也对正在进行的设计过程有所影响。设计团队有两个特别的灵感来源。一个是John Maeda的著作《简单的法则》，另一个是Kyong Park几年前在西班牙Museo de Arte Contemporáneo de Castilla y Léon举办的的展览“新丝绸之路”。这个展览对当地的一些概念进行了处理和表达，比如谈判，冲突，叠加，污染以及平衡。类似这些概念在设计本项目的过程也有所体现。John Maeda的书《简单的法则》被当作一个概念框架，一个建筑上的条约以及一种建筑思想的模本。通过像缩减，组织，时间，差异，文脉以及情感等概念，设计的研究和发展试图以尽可能简单的方案来平衡项目的要求，这受到书中第十法则的深刻影响，Maeda在书中这里说到“简单性就是简化明显的而同时增加有意义的。”

In parallel, further layers of knowledge contaminate and have given support to the ongoing design process. Two sources where of particular interest for the design team. One was the John Maeda’s book “The Laws of Simplicity” and the other the exhibition “The New Silk Roads” from Kyong Park, held at Museo de Arte Contemporáneo de Castilla y Léon in Spain a few years ago.This exhibition from Kyong Park dealt with the expression and registry in the territory of some concepts as negotiation, conflict, superimposition, contamination and balance that where similar to the ones emerged trough the premises of the design process in development. The book from John Maeda “The Laws of Simplicity” as been used as a conceptual frame, as a kind of architectural treaty, as a model for architectural thought. Trough notions as reduce, organize, time, differences, context and emotion, the design research and development tried to balance the programme’s requirements with solutions as simple as possible, strongly contaminated by the law 10 on the book, the one where Maeda, states that “simplicity is about subtracting the obvious and adding the meaningful”.

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最后的设计方案十分简单，某种程度上直接对应着给出的参考。方案的一个内面由其建议的一种自然边界铺设（这意味着自然侵蚀的结果）。在部分铺装区域，“terreiro”，有一些增加土壤渗透性的孔洞。围绕着这个空间的是两道长长的墙，固定着土地的同时也整合了部分项目。在东南角用为地下室开挖的土方创造了一座新的小山。

The resulting design proposal is at the end quite simple and somehow literal towards the addressed references. One inner surface of the plot was partially paved with his limits suggesting a kind of natural (suggesting the result of an erosion process) borders. Part of this paved area, the “terreiro”, had some buttonholes in order to increase soil permeability. Surrounding the space, two long walls, sustain land and incorporates part of the programme. At southeast corner, a new hill is created reusing the land movements needed to imbed all the ground floor program of the building.

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在市民公共空间以及（重新）创造和延伸的景观上方，有一个巨大而轻薄的中空方形广场，一个办公室回廊，一个框架。只有六个点支持并界定着浮起的空间，并且过滤了向内和向外的视角。

On top, above the created civic space and the (re)created and extended landscape, a huge but thin voided square, an office cloister, a frame, floats supported only in six points and delimits the space filtering the perspectives inwards and outwards.

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把一些功能放到地下的设计具有多重目的。其一是在基地内创造一个绿色表面。其二是降低建筑设备系统的能耗。

项目的功能分布简单明了。首层作为聚集和多功能空间包括了所有的支持空间，包括一个工作实验室，一个小型餐厅，一些商店以及主要的技术区域。在漂浮回廊上的是所有起步公司的办公室空间和一些实验室。两层建筑都通过一个能够提供更多自由性的模数化的结构来组织其大面积空间。

The decision to imbed part of the programme underneath the landscape aims several goals. One is to increase the green surfaces within the plot. The other is to decrease energy needs in terms of AVAC systems of the building.

The program was distributed in a very clear and simple way. At ground floor are located all the support spaces as main meeting and multipurpose room, a Fablab, a small restaurant, some shops and main technical areas. On the floating cloister are located all the office units for the startup companies and a few labs. Both floors present large areas organised through a modular structure providing huge flexibility to be adapted concerning the needs.

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Materials

Mainly three materials are used. Concrete, Steel and glass. Basically, ground floor is about rough concrete, expressed as a telluric structure. On purpose, all the marks of the building process where left, acting as a mural texture and a storyboard memory. Also on purpose, the rough plasticity of concrete was seen as a expression feature and towards spatial identity. All ground floor as do to with hearth, with its rough and heavy expression.

Internal walls and floors are in concrete. A few appointments in wood (OSB panels) and painted black elements (reception counters, acoustic false ceilings, staircases) proposes an internal framework of perspectives, balancing the expression of concrete.

Externally, at ground floor, apart from windows (double thermal glass with natural color aluminium frame), two materials are used. Concrete and corten steel. The concrete floor is texturised with metal powder in order to slightly and randomly rust this pavement trough time. Part of the walls are covered by rusty corten steel panels. Those panels are made using standard modules of scaffold pavement units.

Opposed to ground floor, the first floor is all about geometry and clarity. A set of huge metal trusses, assembled to create four voided and interconnected prisms, builds a large and floating cloister. The structure rims the modularity of the startup units that occupy most of the space on this floor.

On this floor, circulation is made trough a inner and naturally ventilated circulation,
protected by a huge glass surface. External walls are made with light damp proof insulated panels and internal walls have been built with light dry gypsum panels system.

On the circulation cloister the pavement is in folded perforated steel scaffold units, and false ceiling his in light aluminium sheets. The outer facade is completely covered by light, translucent and transparent white membrane, built with lacquered perforated steel scaffold units.

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Author: Arch. Jorge Mealha
Project Team: Arch. Andreia Baptista (Coordinator), Arch. Carlos Paulo, Arch. Diogo
Oliveira Rosa, Arch. Filipa Ferreira da Silva, Arch. Filipa Collot, Arch. Gonçalo Freitas
Silva, Arch. Inês Novais.
Structural Engineering: JFA Engenharia (Built Project), Eng. José Ferraz, Eng. Lívio
Oliveira, Eng. Bruno Santos;
Electrical: Eng. António Ferreira, Eng. Pedro Ramos
Climatisation: Eng. Luís Graça
Fire Consulting: Segurinis, Eng. Jorge Miranda (Built Project); Eng. Joaquim Viseu (Base
project)
Hydraulic: S.E. Serviços de Engenharia
Landscape Architect: Arch. Mafalda Lavrador
Construction Company: MRG Engenharia e Construção S.A.
Client: Parque Tecnológico de Óbidos
Photograph: João Morgado

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