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portret portrait

Fredy Massad

Fernando Guerra |
ultimasreportagens.com
Lus Ferreira Alves

Alicia Guerrero Yeste

Bakhova
vedrina

On je arhitekt koji ne osjea potrebu neto izumiti, pie


portugalski kritiar Jorge Figueira o lvaru Sizi. To je izjava
koju treba protumaiti kao istinsku pohvalu, jednako kao
i priznanje konzistentnosti jedne karijere koja obuhvaa
desetljea, a koja se razvijala obavezna sebi samoj. To je,
isto tako, dokaz snage njegovog kreativnog stava, slijeenje
umjetnike determinacije koja je ve mnogo godina osnova
njegovog rada i koja mu je dopustila da postane imun na
interferencije ovog stoljea. U njegovim najnovijim gra
evinama primjeuje Figueira eksperimentalna ten
zija i kompozicijska fluidnost jo su vee, to je faktor koji
se moda moe shvatiti kao ekspresija njegovog upijanja

The Serenity
of Bacchus

He is an architect who doesnt feel the need to invent any


thing, writes Portuguese critic Jorge Figueira of lvaro Siza.
This is a statement that must be interpreted as genuine praise,
as an acknowledgment of the consistency of a career spanning
decades, which has developed under a commitment to itself,
as proof of the strength of his creative attitude, his sticking
to his artistic determination that has persisted underlying in
his work throughout the years, which has allowed him to
become immune to the interferences of the century. In his
latest buildings, Figueira notes, the experimental tension and
compositional fluidity are enhanced, a factor that could
possibly be understood as an expression of his absorbing the

arhitekt
architect

lvaro Siza

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Vinarija Adega Mayor, Campo Maior, Portugal

Adega Mayor winery, Campo Maior, Portugal

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patosa Zeigeista i oivljena realizacija njegovog vlastitog


arhitektonskog iskustva. Sizina zgrada vinarije Adega Mayor,
koja je zavrena 2007. godine, takoer se na besprijekoran
nain pokazuje kao potvrda tog stava njegove introspektivne
koncentracije i vedre individualnosti, to rezultira arhitektu
rom svijesti: djelom u kojem je stvarnost dobrodola, a rav
notea izmeu vlastitog unutarnjeg bia i izvanjskog okolia
ostvarena. Rijetko se prui prilika za izgradnju u prekrasnom,
nedirnutom krajoliku, a kada se dogodi, to je izuzetna odgo
vornost, rekao je lvaro Siza o ovoj graevini, smjetenoj
na imanju Herdade das Argamassas u portugalskom gradiu
Campo Maior. Kada sam posjetio teren, susreo sam se s
dva temeljna elementa koji e usmjeravati projekt i situiranje
graevine: ve postojeu cestu koja povezuje industrijski
kompleks (u vlasnitvu klijenta) i povrinski sloj od guste
gline koja se do nedavno koristila za odlaganje graevinskog

pathos of this zeitgeist and the enlivened fulfilment of his own


architectural experience. His building for the Adega Mayor
Winery, completed in 2007, also stands out in an impeccable
way as the corroboration of that attitude of Sizas introspective
concentration and serene individuality, which results in an
architecture of consciousness: in a work where reality is
welcomed and a balance is created between its own inner self
and the outside surrounding it. One very rarely encounters
the opportunity to build in a beautiful, intact landscape, and
when this does happen, it is a tremendous responsibility, said
lvaro Siza about this building, located in the Herdade das
Argamassas estate, in the Portuguese town of Campo Maior.
When visiting the site, I encountered two fundamental ele
ments that would orient the project and implantation of the
building: a pre-existing road uniting the industrial complex
(belonging to the client), and a dense clay outcrop, until re

otpada u jednoj jami, posebno iskopanoj za ovu svrhu. Tamo je


takoer i mali povrinski sloj od stijena, usred prostrane plodne
zemlje u laganom nagibu. Integritet prirodnog krajolika ojaan
je i strukturiran zbog odravanja poljoprivrednih aktivnosti.
To su bili odluujui elementi, nadopunjeni poznavanjem
arhitekture ove regije, objanjava Siza. Graevina se nalazi
u zoni koja predstavlja otru suprotnost prostranoj ravnici
i ne koristi se kao poljoprivredna povrina. Postojei put
ponovo se koristi, a uinak intervencije sveden je na minimum.
etverokutni tlocrt vinarije, veliine 40 x 120 m, temelji se
na postojeoj jami i sastoji se od zidova visine 9 m koji su
praktiki bez prozora. Iz daljine graevina ukazuje na svoju
prisutnost na tom mjestu jednom esencijalnom gestom, koja
posjeduje i poetsku dubinu: sjajna bjelina tog volumena jasne
geometrije i suptilne plastinosti tu graevinu ini potpuno
integriranom u krajolik, tiho, ali kao okosnicu koja omoguava

cently used for depositing building rubble in a pit excavated


specifically for this purpose. There is also a small, rocky out
crop in the middle of a wide expanse of gently rolling cultivated
land. The integrity of the natural landscape is reinforced and
structured by the maintenance of agricultural activities. These
were the determining elements, complemented by knowledge
of the regions architecture, explains Siza. The building
stands in a zone that stands in stark contrast to the extensive
plain and is not used as a cultivation zone. Re-utilizing the
existing path, the impact of the intervention was kept to a
minimum. The winerys 40x120 m rectangular layout is based
on the existing pit and constituted by 9-metre-high walls that
are virtually windowless. From a distance, the building
marks its presence on the site by means of a gesture of essen
tiality that can be transported towards some poetical depth:
the shining whiteness of this volume of clear geometry, of a

oris, broj 56, godina 2009

oris, number 56, year 2009

lvaro Siza, Vinarija Adega Mayor

lvaro Siza, Adega Mayor Winery

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popreni presjek
cross section

tlocrt 2. kata

uzduni presjek

2nd floor plan

longitudinal section

tlocrt prizemlja
ground floor plan

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oris, broj 56, godina 2009

oris, number 56, year 2009

lvaro Siza, Vinarija Adega Mayor

lvaro Siza, Adega Mayor Winery

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rekonstrukciju ljepote ovog mjesta i daje mu izgled ne


dirn utosti ili, bolje reeno, neega to je podignuto iz
tono istih konceptualnih razloga zbog kojih ovjek obra
uje i oblikuje zemlju mijenjajui i prilagoavajui kra
jolik kao izraz neraskidive veze. A onda, kako se fiziki
pribliavamo graevini, otkriva se jedna druga bitnost:
ona konstruktivne racionalnosti. Ta graevina, veinom
izgraena od armiranog betona, sastoji se od dva dijela:
vei je volumen razvijen horizontalno i etverokutnog je
tlocrta, te sadri prostore dvostruke visine. Vertikalni vo
lumen, podignut na jugoistonom kraju, sadri glavni ulaz,
a njegova je vanost naglaena dodavanjem tree etae.
Smjetanje graevine na malom breuljku s orijentaci
jom okosnice zgrade okomito na obrise nagiba omoguava
pristup prizemlju i prvoj etai bez potrebe da se modifici
ra postojei teren. U prizemlju se nalaze ulaz, recepcija,
balkon za goste i vertikalni pristupi, spremite i vinsko

subtle plasticity, that makes it wholly integrated in the land


scape, silently but as an axis that enables the reconstruction
of the beauty of the place, and makes it look untouched or,
rather, better said, like something that has been erected for
the same conceptual reasons that make man farm and shape
the earth, transforming and appropriating the landscape as
expression of an indissoluble bond. And then, as the physical
approximation to the building happens, it unveils another
essentiality: that of its constructive rationality. The building,
mostly built in reinforced concrete, consists of two parts: the
larger volume is horizontally developed and rectangular in its
plan, with double-height spaces. The vertical volume, deve
loped at the south-east end, contains the main entrance and
its importance is emphasized by means of the addition of a
third floor. Having placed it on a slight mound, the orien
tation of the buildings axis perpendicular to the contours
provides access to the ground and first floors without the

skladite gdje se odvija proces prerade groa: fermentacija,


vinifikacija, vakuumsko preanje, pohranjivanje u posude
od nehrajueg elika, stabilizacija, spremanje u bave od
hrastovine i flairanje. Na toj je razini smjeteno natkriveno
parkiralite, pokraj ulazne zone na jugoistoku. Na prvom se
katu nalaze uredi za zaposlenike, zajedno s laboratorijima
i drugim prostorijama koje su namijenjene iskljuivo
osoblju vinarije. Drugi se kat koristi kao prostor za goste,
namijenjen je posjetima turista i prezentacijama vina, a
ukljuuje prostoriju za degustiranje vina i maleni duan;
injenica da je ta etaa na istoj razini kao i visina krova
horizontalnog volumena iskoritena je za stvaranje zelenog
krova s reflektirajuim bazenom u sredini, to predstavlja
podruje otvorenog prostora s kojeg se prua panoramski
pogled na prirodni okoli, ali ija je glavna funkcija formu
liranje mogueg naina za pojedinca da rekonstruira sliku i
koncept ovog mjesta kroz graevinu. Funkcionalni aspekti
graevine rijeeni su s mnogo panje posveene detaljima
dok u isto vrijeme dokazuju Sizine sposobnosti da izbjegne
nepotrebnu gestu vjerojatno zbog toga to su nepotrebne
geste potpuno neprirodne u njegovom procesu razmiljanja.
Prostorne kvalitete i plastina vrijednost materijala postiu
vlastiti izraz u svakom podruju zgrade na takav nain da
daju posebni karakter prostorima namijenjenim osoblju i
posjetiteljima, dok prostor vinarije postaje nesumnjivo in
dustrijski prostor; meutim, izmeu njih je ipak stvoren
osjeaj jedinstvenosti i koherentne tranzicije. Siza daje
osjeaj suvremenosti jednoj tipologiji, vinariji, kojoj su
drugi arhitekti pristupili parametrima objektualizma i na
padnosti kako bi je pretvorili jedino u proizvod i simbol
jedne ere showa i pretjerane konzumacije. Kultura vina re
definirala se tijekom posljednjih desetljea, a arhitektura
vinarija prolazi kroz promjene koje se javljaju kao posljedica
te evolucije. Potreba za moderniziranjem starih struktura
da bi se unaprijedila proizvodnja, ali isto tako i uzimanje u
obzir dodatne vrijednosti koju neka izvanredna graevina
moe imati za marketing i svrhe promocije dovela je do
uspostavljanja odnosa izmeu arhitekture i vina koji je re
zultirao poveanjem broja vinarija s potpisom. U mnogo
glasovitih sluajeva posljednjih desetljea spoj renomiranog
arhitekta i vinogradarske tvrtke zavravao je spektakularnim,
iako razoaravajuim graevinama zbog toga to su se
nepovezanost s krajolikom i nedostatak razumijevanja naj
osnovnijih principa vinarije prikrivali stvaranjem objekta
koji je ignorirao samu sr krajolika i nametnuo se u njemu.
Posljedica takve vrste pristupa rezultirala je graevinama
koje su prvenstveno zamiljene kao objekti sa zabavnim

oris, broj 56, godina 2009

oris, number 56, year 2009

lvaro Siza, Vinarija Adega Mayor

need to modify the existing land. The ground floor contains


the access, with a reception hall, reception balcony and
vertical accesses, the storage and wine storehouse, where the
grapes transformation project takes place: fermentation,
vinification, vacuum pressing, storage in stainless steel con
tainers, stabilization, storage in oak casks and bottling. A
parking area has been located on this level, at the entry zone
at the south-west, protected by a shed. The first floor contains
the employees offices along with laboratories and other fa
cilities for exclusive usage of the winerys staff. The second
floor is used as a visitors area, destined for tourist use and
promotion of the wine, it includes a wine tasting room and a
small shop; the fact this floor is aligned to the roof level of the
horizontal volume has been used to create a green roof with
a central reflecting pool, an area that creates an open space
providing a panoramic view over the surrounding natural land
scape but whose main function, it could be argued, is for
mulating a possible way for the individual to reconstruct again
an image and concept of this site through the building. The
functional aspects of the buildings are resolved with careful
attention to detail while simultaneously proving Sizas capa
city to avoid any superfluous gesture probably because
superfluous gestures are totally unnatural to his thought pro
cesses. The spatial qualities and the plastic value of materials
achieve their own expression in every area of the building, in
a way that bestows the areas destined to staff and visitors
with a specific character and the winery area unmistakably
becomes an industrial space, yet creating a sense of unity and

lvaro Siza, Adega Mayor Winery

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sadrajima za turiste, a nisu usmjerene na istraivanje


mogunosti stvaranja izraza jedinstva graevine i biti staro
davnih djelatnosti proizvodnje vina. Nisu miljene kao
proces interakcije prirode, ovjeka i arhitekture u smislu
mjesta koje prua metaforiku utrobu u kojoj bi se zatitio
proizvod tijekom protjecanja potrebnog vremena za njegovo
nastajanje. To se ne odnosi na Adega Mayor, na graevinu
kod koje je Siza, renomirani arhitekt, primijenio neku vrstu
povratka izvornom duhu svojih najranijih radova, koji se
nalaze u njegovoj domovini. Taj je projekt, ini se, Siza
razvio iz snanog emocionalnog razumijevanja krajolika
koji osjea bliskim svom vlastitom biu. Svojoj panji
prema funkcionalnosti pristupio je iz najkonzistentnije
objektivnosti i pragmatizma, pri emu se arhitektura
oituje kao Sizina nemogunost da ini bezrazlone na
padne geste, izraavajui ideju prema kojoj bi se mo nje
gove arhitekture trebala shvatiti kao intenzivna sloboda
kreiranja takve definicije stvarnosti kakva se spoznaje nekom
unutarnjom tajnom. Iz toga neizbjeno izvire ta konstantna
potreba za ponovnim referiranjem na specifinu osebujnost
portugalske prirode kojoj se esto vraa kad se govori o
nekima od najistaknutijih znaajki njene kreativne kulture:
zadovoljstvu, spokojnosti, introspekciji i snazi poetskog
stava koji proizlazi iz tog duha, a koje Sizina arhitektura tako
fascinantno i iskreno utjelovljuje.

a coherent transition between them. Siza bestows a sense


of contemporariness to a typology, the winery, that other
architects have approached from the parameters of objectu
alism and flashiness, to turn them into mere products and
symbols of the era of show and hyperconsumption. The
culture of wine has been redefining itself over the last decades
and winery architecture has undergone transformations that
have been a consequence of this evolution. The need to update
old structures to improve production but also taking into
account the additional value that a remarkable building can
have for marketing and promotional purposes has led to the
establishment of a relationship between architecture and
wine, which has resulted into a proliferation of signature
wineries. In many of the well-known cases of the last decades,
the union of a reputed architect and a viniculture firm has
ended up in spectacular albeit disappointing buildings, be
cause the disconnection with the landscape where they were
asked to build and the lack of understanding of the most basic
principles of the winery are concealed with the creation of an
object that ignores the very essence of the landscape, only to
superimpose itself over it. This consequence of this kind of
approach has resulted in buildings primarily conceived as
entertainment facilities for tourists rather than aiming to
explore the possibility of creating an expression of communion
between the building and the soul of the ancestral activity of
wine producing, as a process of interaction between nature,
man and architecture as the place providing a metaphorical
womb to shelter the product during the passing of time re
quired to obtain it. This does not apply to Adega Mayor: a
building where Siza, the reputed architect, somehow exerts a
kind of return to the original spirit of his earliest works, lo
cated in his country, and which is a project he seems to have
developed out of the strong emotional understanding of a
landscape he feels to be entirely linked to his own self. His
attention to functionality is addressed from the most con
sistent objectivity and pragmatism, whereas the architecture
manifests itself as the impossibility for Siza to make gratuitous
loud gestures, conveying the idea that the power of his archi
tecture should be more regarded as the intense freedom to
construct a definition of reality as perceived from some inner
mystery. Here, then, springs unavoidably this constant need
to refer back to that specific idiosyncrasy of Portuguese nature,
so often referred to when talking about some of the most
prominent figures of its creative culture: contention, calmness,
introspection and the strength of a poetic attitude that
derives out of this spirit that Sizas architecture so fascinatingly
and honestly embodies.

oris, broj 56, godina 2009

oris, number 56, year 2009

Vinarija Adega Mayor, Herdade das Argamassas, Campo Maior, Portugal


Adega Mayor Winery, Herdade das Argamassas, Campo Maior, Portugal
autor author
arhitektonski ured architectural office
investitor client
povrina parcele site area
izgraena povrina built up area
neto povrina net area
projekt project
realizacija completed

lvaro Siza, Vinarija Adega Mayor

lvaro Siza Vieira


lvaro Siza 2 - Arquitecto, SA
SEATUR, Sociedade Empreendedora de Agricultura e Turismo, S.A.
5543 m
2854 m
4262 m
2003
2006

lvaro Siza, Adega Mayor Winery

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