Quinta da Boavista
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Quinta da Boavista的主建筑位于杜罗河沿岸的优越位置，俯瞰着蜿蜒的山谷，这里经过几个世纪的人类雕刻而成，专门用于酿酒。除了农业功能外，这个葡萄酒生产庄园还为一个大家庭的私人使用和作为客栈的旅游用途服务。
我们的项目是这一系列增建的最后阶段，这一系列增建始于18世纪，当时建造了两座建筑，主楼和仆人宿舍，彼此相距几米。最终，它们通过新建的部分连接在一起，但复杂的流线仍然揭示了这种原始的分隔。1950年代的一场火灾后，次要建筑上增建了一层，为这一有机适应梯田平台的整体增添了新层次。
我们的干预始于为看护人建造一座独立的房子，从而释放出主建筑的空间。这个新项目试图理清不同部分之间的流线，这些部分已经被联合在一起，并通过一个新的附加部分关闭了原有两座建筑的L形布局，将其改为U形，创造了一个带有开放门廊的庭院，框住了河流的美景。
干预并没有在新旧之间设定强烈的对比，而是试图探讨建筑和景观中独特的元素并加以强化。尽管空间组织发生了重大变化，但室内的特征得以保留：灰泥、木地板、手工水泥和釉面瓷砖、木制格架以及贯穿整个空间的深蓝色，统一了所有的木工。
在新建筑中，我们的设计更具地形特征，关注于与景观的关系，而不是与现有体量的关系。主要的增建是石墙的延续，按照当地传统的白washed风格，区分这些长轮廓线中的特定时刻。新的客厅由三个元素定义：重新绘制并结束现有露台的石墙和楼梯、由纤细钢柱框架的阳台，阳台上有蓝色格栅的滑动面板，以及与上层露台水平相连的板材。
另一个增建是新的楼梯，它是一个白色抹灰的圆柱体，以最流畅和直接的方式连接两层的走廊。尽管螺旋形状和圆形天窗为内部空间增添了戏剧感，但从外部看，这种形状试图与现有墙体融为一体，其圆柱形的存在让人联想到点缀在风景中的工业酒窖。
该干预还试图改变现有建筑“加固”外部的方式。新开口的设置旨在鼓励与外部空间建立更直接的关系，这些空间根据其内部功能被赋予了不同的特征。入口庭院增加了一扇大窗户，与新厨房及其大烟囱相连。下层的新房间直接通向外部露台，露台被一排柏树所限制。新庭院则增加了另一扇窗户和一个遮蔽的门廊，为人们提供了避阳和避雨的庇护。
然而，目标并不是透明度，这与现代主义的追求不同。在这里，所有的开口都可以被遮蔽，甚至新客厅的开放阳台也可以保护免受视线的侵扰，这种视线如果存在，可能会过于压倒性，这与葡萄牙的传统相符，具有摩尔人起源的特点，强调“看而不被看”。
The main building of the Quinta da Boavista, is situated in a privileged location along the margins of the Douro River, overlooking the sinuous valley, sculpted by man over the centuries to produce wine. Besides the agricultural function, this wine-producing estate also serves the private use of a large family and touristic use as a guest house.
Our project is the last phase of a series of additions that began in the 18th century with the construction of two buildings, the main house and the servants’ quarters, standing a few meters apart. Eventually, they were united with new construction, but a complex circulation still revealed this original separation. After a fire in the 1950’s, a new floor was built on the secondary building, adding a new level to an ensemble that adjusts organically to the terraced platforms.
Our intervention began with a separate house for the caretaker, liberating space in the main building. This new project attempts to clarify the circulation between the different parts that have been united, and adds a new feature to the group by closing the L shape of the two original buildings set perpendicularly, with a new addition, changing the L into a U form, creating a courtyard with an open portico that frames the river view.
Rather than set a strong contrast between old and new, the intervention sought to investigate what was unique in the building and landscape and to intensify it. Despite major alterations in the spatial organization, the character of the interiors was maintained: stucco, wooden floors, handmade cement and glazed tiles, wooden trellis and a pervading deep blue that unites all the carpentries.
In the new buildings our approach was more topographical, relating to the landscape rather than to the existing volumes. The main addition is a continuation of the stone walls, whitewashed in the local tradition of differentiating particular moments in these long contour lines. The new living room is defined by three elements: the stone wall and staircase that redraw and conclude the exiting terrace, a veranda framed by slender steel columns protected by sliding panels of blue trellis, and a slab which is the continuation of the level of the upper terrace.
The other addition, a new staircase, is a white rendered cylinder that unites the corridors in both floors in the most fluid and direct way. Even if the spiral form and a circular skylight provide drama to the inside space, from the outside, the form tries to blend with the existing walls, and its cylindrical presence recalls the industrial wine silos that can be seen punctuating the landscape.
The intervention also attempts to change the way the existing building was “fortified” against the exterior. New openings were made so as to encourage a more direct relationship with the outside space, which was given a separate character according to its inner functions. A large window was added to the entrance patio, in contact with the new kitchen and its big chimney. The new rooms in the lower level gained a direct access to the outside terrace, limited by a row of cypress trees. The new courtyard was given another window and a covered portico which offers refuge from the sun and rain.
Still, the aim was not transparency, such as was desired by Modernism. Here, all the openings can be obscured, and even the new living room with its open veranda over the river can be protected from a view that, if ever present, can be too overwhelming, in line with a Portuguese tradition, of Moorish origins, which favours seeing without being seen.