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.

16-25 AI 124 Arruda OK.indd 3 27/04/15 16:21

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

ELEOLRWHFD�GLYHQWD�OD�PDWULFH�GL�

partenza

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

H�QRQ�DELWXDOL�PRGDOLWj�GL�SHUFH]LRQH�VSD]LDOH�

´(�LQ�TXHVWR�PRGR�FKH�O·DUFKLWHWWXUD�GHPRFUDWL]]D�OR�VSD]LR�SHUFKp�DQQXOOD�OH�JHUDUFKLH�H�FRQVHQWH�D�WXWWL�GL�¶YHGHUH·�H�¶FRPXQLFDUH·�YLVLYDPHQWH�FRQ�OD�WRWDOLWj�GHOOH�IXQ]LRQL��FRQ�OD�QDWXUD�H�FRQ�LO�FRQWHVWRµ�'DO�SXQWR�GL�YLVWD�XUEDQLVWLFR�LO�ORWWR��FKLXVR�WUD�LO�ÀXPH�H�OD�IHUURYLD�H�GL�IDWWR�LQWHUFOXVR�H�FRPSOHWDPHQWH��VHSDUDWR�GDO�WHVVXWR�XUEDQR��QHFHVVLWDYD�GL�XQD�FRQQHVVLRQH�FKH�VFDYDOFDVVH�LO�WUDFFLDWR�IHUURYLDULR��,O�SURJHWWLVWD�RWWLHQH�FKH�LO�SRQWH�SHGRQDOH�QRQ�IRVVH�XQ�HOHPHQWR�VWDFFDWR�PD�SDUWH�LQWHJUDQWH�H�LQWHJUDWD�GHOO·HGLÀFLR��/D�SDVVHUHOOD�SXEEOLFD��FKH�LQIDWWL��LQÀO]D�LO�YROXPH�FLUFD�D�PHWj�GHOOD�VXD�DOWH]]D�H�LQ�FRUULVSRQGHQ]D�GHOO·DQJROR�D�QRUG�HVW��JLRFD�GLQDPLFDPHQWH�FRQ�L�WDJOL�REOLTXL�GHOOD�IDFFLDWD�H�FRQ�OD�VXD�HQHUJLD�Rrizzontale sembra JHQHUDUH�OR�VODQFLR�FLQHWLFR�DOOD�FRPSRVL]LRQH�/D�SDVVHUHOOD�QRQ�FRQVHQWH�GL�DFFHGHUH�GLUHWWDPHQWH�DOOD�ELEOLRWHFD��PD�VXL�SLDQHURWWROL�GHOOD�VFDOD�FKH�SRUWD�DO�SLDQR�WHUUD�H�DOOD�SLD]]D�SXEEOLFD�VL�DSURQR�YDUFKL�YLVXDOL�YHWUDWL�FKH�FRQVHQWRQR�XQ�VRUSUHQGHQWH�FRUWR�FLUFXLWR�YLVLYR�WUD�HVWHUQR�XUEDQR��SDHVDJJLR��SHUFRUVR�SXEEOLFR�H�DWWLYLWj�LQWHUQH�GHOOD�ELEOLRWHFD�´4XHVWD�DUFKLWHWWXUD�KD�FRQVHQWLWR�SHU�OD�SULPD�YROWD�DL�FLWWDGLQL�GL�9LOD�)UDQFD��GL�SHUFHSLUH�OD�SURSULD�FLWWj�H�LO�ÀXPH�LQVLHPHµ�/D�PDQFDQ]D�GL�ULVRUVH�KD�LPSRVWR�O·XVR�VREULR�ed elegante di materiali elementari. Cemento YHUQLFLDWR�QHUR��SDUHWL�ELDQFKH��SDYLPHQWL�LQ�UHVLQD��YHWUR�H�SDQQHOODWXUH�VIRQGDWH�LQ�YHWUR�)UXHQGR�JOL�VSD]L�LQWHUQL�GHOOD�ELEOLRWHFD�FL�VL�VHQWH�GDYYHUR�SDUWH�GHOOD�´FLYLWDVµ��/D�VREULHWj�ELDQFD��QHUD�H�VLOHQ]LRVD�GHJOL�LQWHUQL�VL�FRQIURQWD�FRQ�OD�EHOOH]]D�GHOOD�QDWXUD�HVWHUQD��H�OH�FRQVHQWH�GL�SUHYDOHUH�QHOOD�SHUFH]LRQH�invadendo lo spazio interno attraverso inusuali LQTXDGUDWXUH�ÀQHVWUDWH�WULDQJRODUL�H�GLDJRQDOL�´1RL�DUFKLWHWWL�LPSDULDPR�VHPSUH�GDOOH�QRVWUH�DUFKLWHWWXUH��'XUDQWH�OD�FRVWUX]LRQH�DYHYR�SDXUD�FKH�TXHVWL�VSD]L�DSHUWL�H�DIIDFFLDWL�l’uno sull’altro generassero un disturbo e una GLVWUD]LRQH��FRQWUDUL�DOO·DWPRVIHUD�FKH�GHYH�HVVHUFL�LQ��XQD�ELEOLRWHFD��0D�LQYHFH�QRQ�q�FRVu��RUD�O·HGLÀFLR�q�LQ�IXQ]LRQH�H�F·p�XQ�FOLPD�GL�FRQFHQWUD]LRQH�SHUIHWWR�SHU�OHJJHUH�H�VWXGLDUH���+R�ULÁHWWXWR�H�KR�FDSLWR�LO��SHUFKp��LO�VLOHQ]LR�YLHQH�GDOO·HVWHUQR��GDOOD�VXSUHPD]LD�GHO�SDHVDJJLR�FKH�SHUPHDQGR�OR�VSD]LR�LQWHUQR��LQÁXHQ]D�H�PRGLÀFD�LO�FRPSRUWDPHQWR�

XPDQRµ�

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�

16-25 AI 124 Arruda OK.indd 6 27/04/15 16:18

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