自1918年阿尔坎塔拉码头完成疏浚工程后，里斯本已具备客轮靠泊的条件。随着客运量持续增长，自1927年起，所有原本在塔霍河（Tejo）外海抛锚、以小艇接驳上下客的客轮，必须改为直接靠泊码头。这一转变不仅提升了港口运营效率，也凸显出现代化、体面且具象征意义的港口设施之必要性。

Although docking at the Alcântara quay had been possible since 1918, following dredging works, the steady growth in passenger traffic made it mandatory, from 1927 onwards, for all passenger ships to berth at the pier. Until then, disembarkation had taken place offshore on the River Tagus. This shift intensified the need for modern, appropriate and dignified facilities.

最初计划在凯斯杜索德雷建设中央海运站，但因地质条件受限而被迫放弃。1934年，项目最终委托给葡萄牙现代主义建筑的重要代表人物——Porfírio Pardal Monteiro，由其负责设计阿尔坎塔拉与罗沙孔德·德奥比杜什两座海运码头。由于前期犹疑以及第二次世界大战的爆发，阿尔坎塔拉码头的工程进度受到延宕，直至1943年一艘载有难民的船只抵达时方才正式启用。战争期间，葡萄牙的中立地位使里斯本成为欧洲重要的避难与中转之地，在一定程度上弥补了自1941年起骤降的旅游客流。罗沙孔德·德奥比杜什码头则于1948年落成启用。

The initially preferred project for a central maritime station at Cais do Sodré was abandoned for geotechnical reasons. In 1934, the commissions for the maritime stations of Alcântara and Rocha Conde d’Óbidos were finally entrusted to architect Porfírio Pardal Monteiro, a leading figure of Portuguese modernist architecture. Initial hesitation and the outbreak of the Second World War delayed the completion of the Alcântara station, which was only inaugurated in 1943 with the arrival of a refugee ship. Portugal’s neutrality during the conflict brought Lisbon renewed prominence as a point of refuge and transit, partially offsetting the sharp decline in tourist flows felt from 1941 onward. The Rocha Conde d’Óbidos station would only be inaugurated in 1948.

建筑原始外观

两座码头在当时堪称创新之举，被视为国家面向世界的“门户”。Pardal Monteiro倡导以现代技术回应时代精神，在建筑语言上强调体量尺度的控制与构图秩序，呈现出克制而理性的现代主义美学。其建筑形态简洁、比例严谨，通过体块关系与空间序列塑造出庄重而开放的公共形象。

The stations were innovative within the national context, conceived as impactful “gateways” for arriving passengers. Pardal Monteiro championed the use of modern construction techniques to produce works aligned with the spirit of the time. He developed an architectural scheme defined by the scale and clarity of volumes, adopting a restrained and rationalist aesthetic.

在一层候船大厅的墙面装饰上，Pardal Monteiro再度邀请艺术家José de Almada Negreiros合作。阿尔坎塔拉码头内的壁画以葡萄牙海洋传说与诗歌为主题，同时描绘里斯本河岸生活的日常场景，将民族叙事与现代建筑空间融为一体。Almada曾评价这些壁画：“我相信自己从未完成得如此之好，也从未创作过如此属于我的作品。”这不仅是对其艺术表达的自我确认，也标志着葡萄牙现代主义在公共艺术领域的一次高峰。

For the decoration of the large first-floor waiting rooms, he once again collaborated with José de Almada Negreiros, with whom he had previously worked on other projects. At Alcântara, Almada chose to depict Portuguese legends and poems related to the sea, as well as scenes from Lisbon’s riverside life.“I believe I have never fulfilled myself better before,nor created a work that was more truly my own.”— José de Almada Negreiros on the murals of the Alcântara Maritime Station

José de Almada Negreiros

José de Almada Negreiros（1893–1970）是20世纪葡萄牙现代主义运动的核心人物之一，集画家、作家、诗人、剧作家与思想者于一身。他与费尔南多·佩索阿等人共同参与前卫杂志《Orpheu》的创作，推动里斯本在1910年代进入欧洲现代主义语境。Almada 的创作横跨绘画、文学与公共艺术，语言大胆、结构理性，既吸收立体主义与未来主义的形式实验，又持续探讨民族身份、历史叙事与现代精神之间的张力。

在公共艺术领域，他以大型壁画与装饰项目奠定地位，尤其是在阿尔坎塔拉与罗沙·孔德·德奥比杜什海事客运站的壁画创作，将葡萄牙海洋史诗、城市日常与象征性图像融为一体，使建筑空间成为叙事与记忆的载体。他曾言：“我从未完成过更好的作品，也未创作过更属于自己的作品。”这既是对创作强度的自我确认，也揭示了其艺术实践始终在理性结构与诗性想象之间寻找平衡。

随着远洋定期客运的衰落，阿尔坎塔拉海运码头逐步停用。2012年，该建筑被列为“公共利益纪念建筑”。自2025年4月起，阿尔坎塔拉与罗沙孔德·德奥比杜什两座码头共同设立“阿尔马达壁画诠释中心”，系统梳理两座码头的历史脉络，并全面呈现Almada Negreiros的艺术生涯与创作成果。

Gradually deactivated with the decline of regular maritime passenger transport, the Alcântara Maritime Station was classified as a Monument of Public Interest in 2012. Since April 2025, together with the Rocha Conde d’Óbidos station, it has housed the Murals of Almada Interpretative Centre, which presents the history of the stations as well as the life and work of Almada Negreiros.

项目名称 |

阿尔坎塔拉码头

所 有

者 |

国家建筑和古迹

总局

项目地点 |

阿尔坎塔拉 – 里斯本

建筑设计 |

Pardal Monteiro

ARQUITECTOS

主创设计 |

Porfírio Pardal Monteiro