许多区域、建筑、空间并没有局限在物理和材料层面的呈现，它们还能够在神性与世俗的不断对话中创造感知，吸引着人们的灵魂和想象。建筑师设计这座位于Odivelas城市中Colinas do Cruzeiro区域的伊斯兰文化中心的目的是打造建筑的空间性和象征性特质，这些特质可能会潜在地触发来访者对神秘和神圣的感知。
There are territories, buildings, spaces that represent more than just their physical and material dimension. They have the ability to create sensations and appeal to our spirit and our imagination, in a constant dialogue between the sacred and the profane. Our intention for this Islamic Cultural Centre – located in Colinas do Cruzeiro, Odivelas – was to provide the space with spatial and symbolic qualities that potentially could create in the visitor an awareness of the mystic and the sacred.
▼文化中心入口接待处，reception at the Culture Centre entrance
▼展厅区域回望入口，look back from the gallery
Being a space dedicated to spread the Islamic identity, it is also a space for the whole community, a space for dialogue and sharing of culture and knowledge. Therefore, the program for this Centre had to contemplated an exhibition space, a space for dissemination of literature, a meeting/studding room, and a male and female prayer space.The program was distributed hierarchically and taking into account which functions were of more public character – located in the area closest to the entrance – and the ones more reserved – located in the innermost part of the Centre.
▼文化中心内包括一个展览空间、一个传播文学的空间、一个会议/学习室和男女祈祷空间，the program for this Centre had to contemplated an exhibition space, a space for dissemination of literature, a meeting/studding room, and a male and female prayer space
▼连接入口区域的第一个展厅，gallery 01 next to the entrance
▼尖马蹄形的拱门，pointed horseshoe arches
The Odivelas Islamic community is one of the largest of its kind in Portugal, so it was imperative to provide a space open to the community in general, where a set of cultural and religious activities could take place, not only to serve the elements of this community, but also the population in general, who might has an interest in knowing better this culture. Together with programmatic needs, the space was developed from a formal point of view based on the imaginary of Islamic architectural culture, of which we highlight the inspiration in elements such as pointed horseshoe arches and groin vaults. Starting from these elements and transforming them into a contemporary language, we have created a space environment that is divided into several interior spaces that interconnect each other through the dynamic flow of the arches that leads the visitor in a journey through the interior of the Cultural Centre. The interior volumetry was sculpted in order to stimulate the senses, through curved and fluid forms that remember the Islamic architectural grammar, creating several different moments along the route through the space interior.
▼不同区域通过拱门的动态流线相互连接，引导来访者在文化中心内部穿行，interior spaces interconnect each other through the dynamic flow of the arches that leads the visitor in a journey through the interior of the Cultural Centre
Concerning the material palette, we opted for a language that is above all elegant and discreet, and in some specific spaces the approach is almost minimalistic, in order to emphasize some of the most sculptural spatial gestures. In the exhibition spaces, a more neutral environment was proposed, predominantly white, so that the exposed elements have the deserved prominence. However, this design decision also intends to emphasize the religious space character, so the careful use of white, and the light treatment, intends to achieve this goal.
▼一些特定的空间中采用近乎极简的设计策略以强调那些最具雕塑形态的空间区域，in some specific spaces the approach is almost minimalistic, in order to emphasize some of the most sculptural spatial gestures
In the prayer spaces, the previous strategy was continued, but providing the spaces with some extra visual and tactile comfort through the application of wooden elements in the male prayer room, and coloured vinyl covering in the female prayer room.
▼男性祈祷室中使用木质元素，the application of wooden elements in the male prayer room
▼材料为空间增添了视觉与触觉的舒适性，material provides the space with some extra visual and tactile comfort
A final reference to the use of an Olive tree within the entrance area. Its placement aims to break the predominant spiritual minimalism, endowing the atmosphere with a contagious natural force. The presence of this element elevates the space symbolic features, endowing it with a contemplative presence and invites the passer-by to enter. In conclusion, we predisposed to carry out this project with the goal of creating a space with its own identity and where people might be able to identify the cultural and religious roots that led to the creation of this Cultural Center.
▼入口区域种植的橄榄树旨在打破主导的极简精神，赋予环境以自然感染力，an Olive tree within the entrance area aims to break the predominant spiritual minimalism, endowing the atmosphere with a contagious natural force
Project: Colinas do Cruzeiro Islamic Cultural Centre
Architects: Estúdio AMATAM
Authors: João Amaral, Manuela Tamborino
Collaborators: Ruy Cardoso, Vera Ferreira
E-mail address: email@example.com
Photographer: Invisible Gentleman | http://invisiblegentleman.com/
Client: RUTOC – Properties, Lda.
Site of the building: Avenida Miguel Torga, Colinas do Cruzeiro, Odivelas, Portugal
Completion date: October 2018
Total area in square meters: 121 m²
Cidade/data: Almada, May 2019
nome: João Pedro Escaleira Amaral