Panteão dos Almeida博物馆/展览馆位于葡萄牙阿布兰特什（Abrantes），建筑的前身为Santa Maria do Castelo教堂，设计旨在通过对室内空间的翻修与改造为这座历史建筑赋予全新的功能。该教堂由D. Afonso II于1215年建造，后D. Diogo Fernandes de Almeida于1433年对教堂进行了重建，该次重建奠定了建筑的核心特征。当地对于历史遗产建筑干预的法规十分严格，除重新粉刷外墙和添加维护材料外，不允许对现有的建筑进行任何外观上的改造。
The museography and exhibition architecture project of the Panteão dos Almeida, in the Church of Santa Maria do Castelo in Abrantes, Portugal, aims the adaptation and interior requalification of an old church (a historic building in the city of Abrantes, built in 1215 by D. Afonso II, being later, in 1433, rebuilt by D. Diogo Fernandes de Almeida, one of the central characters of this project), fulfilling the strictness of the restrictions, imposed by the entities that supervise the intervention in heritage and that do not allow any alteration to the existing other than painting and maintenance of materials.
▼项目概览，overall of the project © FG+SG – Fernando Guerra
因此，本项目中采用的干预策略必须是完全可逆且极简主义的，以免对现有的宏伟历史建筑造成破坏。考虑到这一点，设计团队采取了极简的干预手法，为这座历史建筑重塑了空灵神圣的外观，这种设计手法在与现有空间形成对话，同时也为室内创造出开放流动的空间氛围。无论是在视觉上，还是在概念上，改造后的空间与现有建筑之间都有着紧密的联系，设计传承了教堂的空间精髓，同时定义了展览空间的层次，为游客创造出沉浸式的观展体验。
Thus, the intervention has to be completely reversible and minimalist to avoid competing with the historical grandeur of the existing. With that in mind, an intervention with an ethereal and simple appearance was thought of, which could dialogue with the pre-existing, while creating a virtually open and fluid space, capable of exploring numerous visual and conceptual relationships between the proposal and the existing, making it It also serves as an interpretive element of the church, while defining the hierarchies of exhibition design, thus creating an immersive experience for visitors.
▼建筑外观，exterior view of the project © FG+SG – Fernando Guerra
▼入口立面，entrance facade of the project © FG+SG – Fernando Guerra
改造设计以松木平台的形式呈现出来，松木平台放置于现有的粘土地面之上，边缘与墙体留出了一定的距离，进而创造出好似漂浮于空间之中的视觉印象。松木平台地面宛如一个全新的历史层，既保留了人们对于原教堂地面的感知，同时又讲述了一个不同的故事。
▼分析图，analysis diagram © Spaceworkers
The proposal was materialized in the construction of a pine wood platform, placed on an existing clay floor, while peeling off the walls to give the impression of a floor that floats in space, as if it were a new layer of history, also allowing to perceive the existing floor, which tells a different story.
▼由入口区域看整个展览空间，viewing the whole exhibition from the entrance area © FG+SG – Fernando Guerra
▼现代设计语言与历史建筑元素的并置，juxtaposition of modern design language and historical architectural elements © FG+SG – Fernando Guerra
▼细部，details © FG+SG – Fernando Guerra
该展览建筑旨在探索“非物质”和“无形”的意义，极具渗透性的空间设计将教堂内部的全景展示在人们眼前，多层次的展览信息与现有历史空间的并置，创造出另一种意义上“VR”体验。
The exhibition architecture explores the meaning of the immaterial and the intangible, and its permeability allows the visualization of the entire breadth of the Church, a kind of augmented reality, layers of information juxtaposed to the existing one.
▼主要展览空间俯瞰，overlooking the main exhibition area © FG+SG – Fernando Guerra
▼透明的玻璃屏风展示了展览信息，同时分隔了空间，transparent glass screens display the exhibition information while dividing the space © FG+SG – Fernando Guerra
▼由展览区看入口区域，viewing the entrance area from the main exhibition space © FG+SG – Fernando Guerra
▼透明的玻璃屏风保证了视觉的穿透性，transparent glass screens ensure visual penetration © FG+SG – Fernando Guerra
展览空间的设计并没有受到场地规模的限制，丰富的尺度、节奏与展览结构的变化，与现有的历史空间巧妙融于一体。这些结构简单且透明的临时性展览单元，以小尺度与纯粹的材料语言对教堂的神圣氛围做出了完美的转译，同时也彰显出一种简单有效的空间构建逻辑。
Defying the scale of the place, the proposal assumes different dimensions, rhythms and proportions of the exhibition structures, which are simple, ephemeral, transparent and, which manage with little volume and little material, to communicate with subtlety alluding to the sacred, a simplicity of constructive logic.
▼由展览空间看原圣坛的位置，viewing the original altar from the exhibition space © FG+SG – Fernando Guerra
▼博物馆一隅，corner of the museum © FG+SG – Fernando Guerra
这些透明的玻璃屏风直接坐落于松木地板之上，由金属框架支撑，高度于2米、3米、5米之间变化。玻璃与金属框架嵌入到地面之下约30厘米的位置，以地板下简单的木结构支撑其整个装置的重量。这些玻璃屏风分布于整个博物馆空间中，以垂直性的空间语言与自身的空间尺度，并根据建筑的几何布局划分了空间。
▼地板与玻璃屏风分析图，analysis diagram of the wooden platform and the glass screen © Spaceworkers
The wooden floor supports the metal structures of various dimensions, with glass that varies between 5m, 3m and 2m in height. These are embedded at a depth of 30 cm in metallic pieces, which make the ballast built by wood, support the weight of the structure. The various pieces are distributed throughout the museum space, according to a layout that follows the geometry of the building and takes advantage of verticality (and scale).
▼玻璃屏风嵌入到地板之下，
the glass screen is embedded under the floor © FG+SG – Fernando Guerra
▼玻璃屏风细部，details of the glass screen © FG+SG – Fernando Guerra
▼玻璃屏风上的线性光源元素，linear light element on glass screen © FG+SG – Fernando Guerra
线性光源贯穿了博物馆的整个楼层，营造出充满活力的空间氛围，相同的设计语言在玻璃屏风中得到了呼应，进一步突出了展览空间的几何美感，可以说是在整个项目中起到了核心的作用。
The lines of light, which run through the entire floor of the museum, elevating the space with an energetic and active vibe, and are repeated in the glass frames that support the graphic elements of the exhibition, play a central role in the entire project.
▼其他展区，other exhibition room © FG+SG – Fernando Guerra
▼总平面图，master plan © Spaceworkers
▼平面图，plan © Spaceworkers
▼立面图，elevations © Spaceworkers
▼剖面图，sections © Spaceworkers
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