CASO STUDIO CAS D’ETUDE CASE STUDY di/par/by
Joseph di Pasquale
Vassily Kandinsky
L’occhio aperto e l’orecchio vigile trasformeranno le più piccole scosse in grandi esperienze
L’œil ouvert et l’oreille attentive transforment les moindres sensations en événements importants
An open eye and an attentive ear transform the smallest sensations into profound experiences
Project: Miguel Arruda Arquitectos Associado/Miguel ArrudaCoordination: João LisboaInteriors: Miguel Arruda, João Lisboa, Ana Lia SantosGraphic Design / Signage: Ana Lia SantosCollaborators: Pedro Nogueira, Paulo Isaque, Sara Preto Cristovão, Mário Iovieno, Fabrizio Ciardulli, Stefano MelaragnoManagement and Implementation: Câmara Municipal de Vila Franca de Xira, EMRU - Luis Matas de SousaConstructor: FML ConstruçõesFurniture: Movecho, Culturalis Borgeaud - Equipamentos de BibliotecaEconomy: FicopeClient: Jardins do Arroz - Empreendimentos
Photos: Foto Guerra
16-25 AI 124 Arruda OK.indd 2 27/04/15 16:21
Vila Franca de Xira, Portugal
Public library
Miguel arrudaarquitectos associados
QXHVWD�ELEOLRWHFD�GL�0LJXHO�$UUXGD�q�XQ�HGLÀFLR�GHQVR�GL�contenuti e di pensiero. Semplice come solo può essere
semplice l’esito di un intenso lavoro guidato dalla curiosità di esplorare tutte le possibilità dell’essere e del divenire di un’architettura.Inizialmente richiesta dall’amministrazione di Vila Franca de Xira, cittadina sulle rive del Tago trenta chilometri a nord est di Lisbona, come compensazione per lo sviluppo urbanistico del comparto di una grande ex manifattura dismessa, diventa successivamente un’iniziativa diretta della municipalità. Venuta meno infatti l’operazione immobiliare privata a causa dell’acuirsi della crisi nel 2010 l’amministrazione pubblica decide di non rinunciare alla biblioteca e chiede all’Unione Europea GL�ÀQDQ]LDUH�LO�SURJHWWR��/D�8(�YDOXWD�PHULWHYROH�LO�SURJHWWR��stanziando il 60% dei fondi, il comune si fa carico del rimanente 40% consentendo l’inizio della realizzazione.“Non volevo che la biblioteca fosse uno spazio morto, volevo che fosse uno spazio realmente frequentato da tutti i cittadini.
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16-25 AI 124 Arruda OK.indd 4 27/04/15 16:21
+R�IDWWR�TXLQGL�XQD�EDWWDJOLD�SHU�PRGLÀFDUH�il programma funzionale iniziale inserendo QXRYH�IXQ]LRQL��XQ�SLFFROR�FDIIq��XQR�VSD]LR�HVSRVLWLYR��H�VRSUDWWXWWR�XQD�]RQD�SHU�L�bambini. I bambini sono stati l’elemento FKLDYH�FKH�KD�FRQVHQWLWR�GL�YHGHUH�OD�ELEOLRWHFD�FRPH�XQR�VSD]LR�DFFHVVLELOH�GDYYHUR�D�WXWWL�H�in ogni momento. I nonni portano i bambini DOOD�ELEOLRWHFD�LQ�XQ�DPELHQWH�VLFXUR�H�SHQVDWR�SHU�ORUR��FKH�LQ�TXHVWR�PRGR�LQL]LDQR�ÀQ�GD�SLFFROLVVLPL�D�FRQFHSLUH�OD�ELEOLRWHFD�H�OD�FXOWXUD�FRPH�TXDOFRVD�GL�SLDFHYROH��GL�
TXRWLGLDQR�H�GL�DFFHVVLELOHµ�Nelle intenzioni del progettista la
memoria del volume alto della SUHHVLVWHQ]D�LQGXVWULDOH�FKH�
si trovava nel luogo dove sarebbe sorta la nuova
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del ragionamento progettuale. “Mi sono aggrappato al volume di questa SUHHVLVWHQ]D�FKH�VL�VYLOXSSDYD�LQ�DOWH]]D�SHUFKp�VHQWLYR�FKH�HUD�XQ�JUDQGH�DLXWR�SHU�PH��1RL�DUFKLWHWWL�DEELDPR�VHPSUH�ELVRJQR�GL�WURYDUH�DLXWL�D�FXL�DJJUDSSDUFL�SHU�LQL]LDUH�D�SURJHWWDUH�H�VSHVVR�VLDPR�FLHFKL�H�QRQ�ULXVFLDPR�D�YHGHUOL��PD�QRQ�ELVRJQD�VWDQFDUVL�PDL�GL�FHUFDUHµ�6YLOXSSDUH�LQ�DOWH]]D�O·HGLÀFLR�VLJQLÀFDYD�FRQWUDSSRUVL�DO�QDWXUDOH�DQGDPHQWR�RUL]]RQWDOH�GHO�OXQJRÀXPH��7XWWR�O·HGLÀFLR�VL�JLRFD�TXLQGL�VX�TXHVWD�FRQWUDSSRVL]LRQH�WUD�SDHVDJJLR�RUL]]RQWDOH�H�RUJDQL]]D]LRQH�YHUWLFDOH�GHJOL�spazi interni./D�FRQFH]LRQH�YROXPHWULFD�SDUWH�GD�XQD�VHPSOLFH�RSHUD]LRQH�EXOHDQD�GL�VRWWUD]LRQH�GL�XQ�DQJROR�GHO�YROXPH�FXELFR�SXUR��PHPRULD�della preesistenza industriale. /D�JUDQGH�DSHUWXUD�WULDQJRODUH�FKH�QH�FRQVHJXH�FRUULVSRQGH�DO�YXRWR�YHUWLFDOH�FKH�FRQVHQWH�GL�LQWHUFRQQHWWHUH�YLVLYDPHQWH�L�YDUL�VSD]L�LQWHUQL�GHOOD�ELEOLRWHFD�=HYL�GLFHYD�FKH�O·DUFKLWHWWXUD�QDVFH�GDOOD�GHÀQL]LRQH�GL�XQR�VSD]LR�LQWHUQR��4XL�O·DUFKLWHWWXUD�QDVFH�GDOO·LQFRQWUR�GL�GXH�SURFHVVL�FUHDWLYL�VLPXOWDQHL��XQ·D]LRQH�VFXOWRUHD�VXO�YROXPH��FKH�SDUWH�GDOO·HVWHUQR�YHUVR�O·LQWHUQR��H�OD�FRQFH]LRQH�GHOO·RUJDQL]]D]LRQH�WLSRORJLFD�H�VSD]LDOH�FKH�SDUWH�LQYHFH�GDOO·LQWHUQR�YHUVR�O·HVWHUQR�,O�QXFOHR�GHL�FROOHJDPHQWL�YHUWLFDOL�GLYHQWD�XQ�HQRUPH�SLODVWUR�LQ�FHPHQWR�DUPDWR�H�YLHQH�GHFHQWUDWR�VXO�ODWR�VXG�RYHVW�GHOO·HGLÀFLR�liberando lo spazio utilizzabile per le funzioni GHOOD�ELEOLRWHFD��,O�YXRWR�YHUWLFDOH�LQWHUQR�HURGH�O·DQJROR�D�QRUG�HVW�GHO�YROXPH�FKH�YLHQH�ULFKLXVR�SHULPHWUDOPHQWH�UHDOL]]DQGR�XQD�VWUXWWXUD�PHWDOOLFD�DSSHVD�GDOO·DOWR�minimizzando in questo modo l’ingombro di SLODVWUL�VWUXWWXUDOL��/H�VROHWWH�FKH�GHÀQLVFRQR�OR�spazio vuoto non sono arretrate tutte allo stesso PRGR�PD�VL�DOWHUQDQR�LQ�GXH�GLUH]LRQL�FUHDQGR�DQFKH�GHOOH�GRSSLH�DOWH]]H�LQWHUPHGLH�/D�PROWHSOLFLWj�SHUFHWWLYD�TXDVL�WHDWUDOH�GL�
TXHVWR�VSD]LR�GLYHQWD�HGXFD]LRQH�YLVXDOH�orientando i fruitori verso nuove
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16-25 AI 124 Arruda OK.indd 5 27/04/15 16:22
Cette bibliothèque de Miguel Arruda est un EkWLPHQW�GHQVH�GH�FRQWHQXV�HW�GH�UpÁH[LRQ��
Simple comme ne peut l’être que le résultat d’un WUDYDLO�DFKDUQp�DQLPp�SDU�OD�FXULRVLWp�G·H[SORUHU�toutes les possibilités de l’être et du futur d’une DUFKLWHFWXUH�Commandée initialement par l’administration de Vila Franca de Xira, une petite ville sur les rives du Tago à une trentaine de kilomètres au nord-est de Lisbonne, pour compenser le développement urbain du quartier où se dresse une grande usine désaffectée, elle est ensuite GHYHQXH�XQH�LQLWLDWLYH�GLUHFWH�GH�OD�PXQLFLSDOLWp��En effet, l’opération immobilière privée n’ayant pas abouti en raison de l’aggravation de la crise en 2010, l’administration publique a décidé de ne pas renoncer à la bibliothèque, et a demandé j�O·8QLRQ�HXURSpHQQH�GH�ÀQDQFHU�OH�SURMHW��/·8(�D�HVWLPp�TXH�OH�SURMHW�pWDLW�GLJQH�G·LQWpUrW�et a accordé 60 % des fonds nécessaires, tandis que la municipalité prend en charge les 40 % restants, ce qui a permis de commencer les WUDYDX[�“Je ne voulais pas que la bibliothèque soit un HVSDFH�PRUW��MH�YRXODLV�TXH�WRXV�OHV�KDELWDQWV�DLHQW�UpHOOHPHQW�HQYLH�GH�OD�IUpTXHQWHU�$ORUV�MH�PH�VXLV�EDWWX�SRXU�PRGLÀHU�OH�programme initial en introduisant de nouvelles IRQFWLRQV���XQ�SHWLW�FDIp��XQ�HVSDFH�G·H[SRVLWLRQ��HW�VXUWRXW�XQ�HVSDFH�SRXU�OHV�HQIDQWV��/HV�enfants ont été l’argument décisif qui a permit de voir la bibliothèque comme un espace YUDLPHQW�DFFHVVLEOH�j�WRXV�HW�j�WRXW�PRPHQW��Les grands-parents accompagneront les enfants à la bibliothèque, dans un environnement V�U�HW�FRQoX�VSpFLDOHPHQW�SRXU�HX[��GH�VRUWH�qu’ils commenceront tout petits à considérer la bibliothèque et la culture comme quelque chose G·DJUpDEOH��GH�TXRWLGLHQ�HW�G·DFFHVVLEOHµ�Dans l’idée de l’architecte, la mémoire de la hauteur du volume de l’ancienne usine qui abritera la nouvelle bibliothèque devient le point GH�GpSDUW�GX�SURMHW��“Je me suis inspiré du volume de l’ancienne usine qui se développait tout en hauteur car MH�SUHVVHQWDLV�TX·LO�PH�VHUDLW�WUqV�XWLOH��/HV�DUFKLWHFWHV�RQW�WRXMRXUV�EHVRLQ�GH�WURXYHU�GHV�UHSqUHV�DX[TXHOV�V·DJULSSHU�SRXU�GpPDUUHU�XQ�SURMHW��HW�VRXYHQW�QRXV�VRPPHV�DYHXJOHV�HW�nous ne parvenons pas à les voir, mais il ne faut MDPDLV�FHVVHU�GH�FKHUFKHUµ�'pYHORSSHU�OH�EkWLPHQW�HQ�KDXWHXU�VLJQLÀDLW�contraster le cours horizontal naturel de la ULYH�GX�ÁHXYH��/·HQVHPEOH�GX�EkWLPHQW�MRXH�par conséquent sur ce contraste entre paysage horizontal et organisation verticale des espaces LQWpULHXUV�La conception du volume part d’une simple opération booléenne de soustraction d’un angle du volume cubique pur, réminiscence de O·DQFLHQ�EkWLPHQW�LQGXVWULHO��/D�JUDQGH�RXYHUWXUH�triangulaire obtenue correspond au vide vertical qui permet de relier visuellement les différents HVSDFHV�LQWpULHXUV�GH�OD�ELEOLRWKqTXH�=HYL�GLVDLW�TXH�O·DUFKLWHFWXUH�QDvW�GH�OD�GpÀQLWLRQ�G·XQ�HVSDFH�LQWpULHXU��,FL�O·DUFKLWHFWXUH�QDvW�GH�OD�UHQFRQWUH�GH�GHX[�SURFHVVXV�FUpDWLIV�simultanés : une action sculpturale sur le volume
TXL�SDUW�GH�O·H[WpULHXU�YHUV�O·LQWpULHXU��HW�OD�FRQFHSWLRQ�de l’organisation typologique et spatiale qui part en UHYDQFKH�GH�O·LQWpULHXU�YHUV�O·H[WpULHXU�Le cœur des liaisons verticales se matérialise en un énorme pilier de béton armé qui est décentré sur le côté sud-ouest du bâtiment pour libérer l’espace utilisable SRXU�OHV�IRQFWLRQV�GH�OD�ELEOLRWKqTXH��/H�YLGH�YHUWLFDO�de l’intérieur érode l’angle nord- est du volume qui se referme sur le périmètre en formant une structure métallique suspendue en hauteur qui minimise ainsi O·HQFRPEUHPHQW�GHV�SLOLHUV�VWUXFWXUHOV�/HV�SODQFKHUV�TXL�GpÀQLVVHQW�O·HVSDFH�YLGH�QH�VRQW�SDV�toutes décalés de la même manière mais s’alternent GDQV�GHX[�GLUHFWLRQV�WRXW�HQ�FUpDQW�GHV�GRXEOHV�YROXPHV�LQWHUPpGLDLUHV��/D�YDULpWp�SHUFHSWLYH�HW�SUHVTXH�WKpkWUDOH�de cet espace devient éducation visuelle en orientant les usagers vers de nouvelles manières, inhabituelles, de SHUFHYRLU�O·HVSDFH�“C’est de cette manière que l’architecture démocratise l’espace, car elle annule les hiérarchies et permet à tous de ‘voir’ et de ‘communiquer’ visuellement avec l’ensemble des fonctions, avec la nature et avec le FRQWH[WHµ�'X�SRLQW�GH�YXH�XUEDLQ��OH�ORW��SULV�HQWUH�OH�ÁHXYH�HW�OD�voie ferrée, et de fait enclos et complètement séparé du WLVVX�XUEDLQ��UHTXpUDLW�XQH�FRQQH[LRQ�TXL�IUDQFKLVVH�OH�WUDFp�IHUURYLDLUH��/·DUFKLWHFWH�D�REWHQX�TXH�OD�SDVVHUHOOH�piétonne ne soit pas un élément détaché mais qu’elle IDVVH�SDUWLH�LQWpJUDQWH�HW�LQWpJUpH�GX�EkWLPHQW��La passerelle publique qui pénètre effectivement le volume à environ la moitié de sa hauteur, et au niveau GX�SLJQRQ�QRUG�HVW��MRXH�GH�IDoRQ�G\QDPLTXH�DYHF�OHV�découpes obliques de la façade, et grâce à son énergie horizontale semble générer l’élan cinétique de la FRPSRVLWLRQ�La passerelle ne permet pas d’accéder directement à la bibliothèque, mais sur les paliers de l’escalier qui mène au rez-de-chaussée et à la place publique s’ouvrent des passages vitrés qui créent un étonnant court-circuit YLVXHO�HQWUH�H[WpULHXU�XUEDLQ��SD\VDJH��SDUFRXUV�SXEOLF�HW�DFWLYLWpV�LQWpULHXUHV�GH�OD�ELEOLRWKqTXH�´&HWWH�DUFKLWHFWXUH�D�SHUPLV�SRXU�OD�SUHPLqUH�IRLV�DX[�habitants de Vila Franca d’avoir la perception de leur YLOOH�HW�GX�ÁHXYH�HQ�PrPH�WHPSVµ�/H�PDQTXH�GH�UHVVRXUFHV�D�LPSRVp�O·HPSORL�GH�PDWpULDX[�élémentaires, à la fois sobres et élégants : du béton peint en noir, des murs blancs, des sols en résine, du verre et GHV�SDQQHDX[�GH�YHUUH�Dans les espaces intérieurs de la bibliothèque, on se sent YUDLPHQW�FRPPH�IDLVDQW�SDUWLH�GH�OD�´FLYLWDVµ��/D�VREULpWp�blanche, noire et silencieuse des espaces intérieurs se fond avec la beauté de la nature environnante et lui permet de prévaloir dans la perception, en envahissant l’espace intérieur grâce à l’encadrement inhabituel des IHQrWUHV��WULDQJXODLUH�HQ�GLDJRQDO�´1RXV�OHV�DUFKLWHFWHV��QRXV�DSSUHQRQV�WRXMRXUV�TXHOTXH�FKRVH�GH�QRV�DUFKLWHFWXUHV��$X�FRXUV�GH�OD�FRQVWUXFWLRQ��MH�FUDLJQDLV�TXH�FHV�HVSDFHV�RXYHUWV�SODFpV�O·XQ�HQ�IDFH�de l’autre ne créent une nuisance et une distraction contraires à l’atmosphère qui doit se dégager dans XQH�ELEOLRWKqTXH��0DLV�DX�FRQWUDLUH��LO�Q·HQ�D�SDV�pWp�DLQVL���DXMRXUG·KXL�OH�EkWLPHQW�HVW�RXYHUW�DX�SXEOLF�HW�il y règne un climat de concentration idéal pour lire et pWXGLHU��-·\�DL�UpÁpFKL�HW�M·DL�FRPSULV�SRXUTXRL���OH�VLOHQFH�YLHQW�GH�O·H[WpULHXU��OD�SULPDXWp�GX�SD\VDJH�HQ�LPSUpJQDQW�O·HVSDFH�LQWpULHXU��LQÁXHQFHQW�HW�PRGLÀHQW�OH�FRPSRUWHPHQW�KXPDLQµ�
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O·AI 124 21
16-25 AI 124 Arruda OK.indd 7 27/04/15 16:20
This library designed by Miguel Arruda
is a building full of thought and content.
Simple in the way only an intensive work can
be, guided by a certain curiosity to explore all
the various possibilities of being and becoming
inherent in a of a piece architecture.
Initially commissioned by the local council of
Vila Franca de Xira, a town along the banks
of the River Tagus, 30 km to the north east
of Lisbon, in order to counterbalance urban
development in a district accommodating
an abandoned manufacturing plant, it was
eventually taken over by the borough council
itself. The private enterprise fell apart because
of the worsening economic recession in 2010,
but the local administration decided not to
give up on the library and asked the European
Union to fund the project. The EU deemed that
the project was worthy of 60% funding, so the
local council paid the remaining 40% to enable
building work to begin.
“I did not want the library to be a dead
space, I wanted it to be somewhere the local
people actually visited. That is why I fought
to alter the original functional program by
incorporating new facilities: a small coffee
bar, an exhibition space and, above all, a
children’s area. Children were the key element
that made it possible to envisage the library
as somewhere everybody really could get to
at any time. Grandparents take children to
the library because it is a safe environment
tailored to their needs, so that from a very
early age they see libraries and culture as
something pleasant, ordinary and accessible”.
The architectural designer envisaged the tall
structure of the old industrial facility that
used to be located where the library was to be
built as the starting point for his architectural
design.
“I thought about the tall old structure as a great
means of inspiration for me. We architects
always need help in getting a project started,
but often we are blind and cannot see what is
before our very eyes, but we must never tire of
trying”.
Building upwards meant going against the
natural horizontal contour of the riverside.
Hence the building really plays on this
counterbalance between the horizontal
landscape and vertical layout of the interiors.
The structural design is based on a simple
Boolean operation of removing a corner from a
pure cubic structure that actually dates back to
industrial times. The large triangular opening
resulting from this operation corresponds to
a vertical void allowing the various library
interiors to be visually interconnected.
Zevi once said that architecture comes from
GHÀQLQJ�DQ�LQWHULRU�VSDFH��,Q�WKLV�LQVWDQFH�WKH�architecture comes from the coming together
of two simultaneous creative processes:
sculptural work on the structure starting from
the outside and working inwards, and an idea
of its typological-spatial layout, which, in
contrast, works from the inside outwards.
The hub of vertical links becomes a gigantic
reinforced concrete column and is de-centred
over on the south-west side of the building,
freeing up space to be allocated to the library.
The internal vertical void erodes away the
north-east corner of the structure, which
is enclosed around the perimeter to create
a metal structure hanging from above to
minimise the space taken up by structural
columns.
7KH�ÁRRU�VODEV�PDUNLQJ�WKH�HPSW\�VSDFH�DUH�not all set back in the same way, but actually
alternate in two directions so as to create
intermediate double-height sections.
The almost theatrical perceptual multiplicity of
this space becomes a form of visual education
guiding visitors towards new and unfamiliar
means of spatial perception.
“This allows architecture to make space
more democratic, because it breaks down any
hierarchies and allows everybody to ‘see’ and
visually ‘communicate’ with all the various
functions, nature and the surroundings”.
From a town-planning viewpoint, the building
lot, enclosed between the river and railway
line and actually totally separated from the
urban fabric, called for a link over the railway
line. The architect managed to ensure that the
footbridge was not separate from but actually
integrated into and an integral part of the
building.
The public footbridge that wedges into the
structure about halfway up near the north-east
corner plays dynamically with the oblique cuts
in the façade, and its horizontal energy seems to
generate the composition’s overall kinetic thrust.
The footbridge does not provide direct access
to the library, but glazed visual apertures open
up along the landings of the staircase that
OHDGV�WR�WKH�JURXQG�ÁRRU�DQG�SXEOLF�SOD]D�WR�create a startling visual short-circuit between
the urban exterior, landscape, public pathway
and library’s inside facilities.
“This work of architecture has allowed the
people of Vila Franca to really perceive their
FLW\�DQG�ULYHU�WRJHWKHU�IRU�WKH�YHU\�ÀUVW�WLPHµ�A lack of resources called for elegant but
austere use of simple materials. Black painted
FRQFUHWH��ZKLWH�ZDOOV��UHVLQ�ÁRRUV��JODVV�DQG�glazed panels.
Using the library’s interior spaces really makes
you feel part of the ‘civitas’. The sobriety of
the silent black and white interiors confronts
the beauty of outside nature allowing it to
SHUFHSWXDOO\�ÁRZ�LQVLGH�WKURXJK�XQXVXDO�triangular and diagonal windows.
“We architects always learn from our works
of architecture. During construction I was
concerned these open spaces facing each other
might create a disturbance and distraction to
the detriment of the kind of atmosphere there
needs to be in a library. But that is not actually
the case: the building is now fully operational
and provides the kind of atmosphere required
for concentrating on reading and studying. I
have thought about this carefully and realised
why: the quietness comes from the outside,
from the supremacy of the landscape, which,
DV�LW�SHUPHDWHV�WKH�LQWHULRU�VSDFH��LQÁXHQFHV�and alters human behaviour”.
Floor 0
Entrance Hall
Multifunctional Room
456 m2
Floor 1
Exhibition Area/Coffee Bar
664 m2
Floor 2
Children’s Area
610 m2
Floor 3
Adults’ Area
555 m2
Floor 4
Adults’ Area
656 m2
Floor 5
Maintenance
Staff/Administration
625 m2
Floor 6
Social Area/Archives
663 m2
O·AI 12422
16-25 AI 124 Arruda OK.indd 8 27/04/15 16:22
Level 0
01 Reception
02 Toilet
03 Atrium
04 Multifunctional (Auditorium)
05 Exterior Atrium
06 External stairs and elevator
Level 1
02 Toilet
06 External stairs and elevator
07 Bar/Café
08 Exhibition area
09 Consultation area
Level 2
02 Toilet
06 External stairs and elevator
10 Audiovisual consulting
11 Informatic consulting
12 Juvenile consulting
13 Informal consulting - comics
14 Fairy tale room
15 Atelier of plastics arts
16 Ludoteca and infant consulting
17 Baby area
Level 6
02 Toilet
21 Office
25 Animation room
26 Deposit
Level 5
02 Toilet
20 Formation room
21 Office
22 Reception
23 Documentation Reception Office
24 Director’s office
Level 3 + 4
02 Toilet
06 External stairs and elevator
10 Audiovisual consulting
11 Informatic consulting
18 Informatic consulting/Self-formation
19 Audio consulting/informal
16-25 AI 124 Arruda OK.indd 9 27/04/15 16:22
16-25 AI 124 Arruda OK.indd 10 27/04/15 16:19
16-25 AI 124 Arruda OK.indd 11 27/04/15 16:21