11 Meia 1 Gallery Debaixo do Bloco Arquitetura

架構師提供的文本描述。阿爾梅達·普拉多畫廊的總部一直設在巴西利亞,但幾年後需求發生瞭變化,畫廊老板決定把他的畫廊帶到聖保羅。在這一變化中,建築事務所DeBaixo do Bloco被邀請,其目的是將該國首都的典型痕跡帶到聖保羅的一個高尚地區,這樣即使是在另一個州,商店也不會失去其誕生城市的身份。這一空間的最大前提是創建一個舒適的畫廊,客戶可以在那裡看到暴露的作品,就像它在他的房子裡一樣,這與該地區現有的畫廊不同。
Text description provided by the architects. The Almeida Prado Gallery always had its base in Brasília, but after a few years the demand changed and the owner decided to take his gallery to the city of São Paulo. In this change, the architecture office Debaixo do Bloco was invited, with the intention of taking the typical traces of the capital of the country to a noble district of São Paulo, so the store would not lose the identity of the city where it was born even being in another state. The biggest premise of this space was to create a cozy gallery where the client could visualize the exposed pieces as if it were in his house, something different from the existing galleries in the region.
© Joana França
(Joana Fran A)

這個項目的挑戰是要解決在13米長4.5米寬的地形上佈置的佈局,而不顯得太窄。知道瞭這一點,找到的解決辦法是:植入3米高的天花板,與街道建立溝通,在商店裡精心設計一個更吸引人的背景,並劃分樓層。在一樓集中瞭一個展覽空間,傢具和圖片沿著大廳排列,樓梯上的架子是用來展示雕塑的,還包括一個儲藏室,在梯子下面的開放式閣樓裡還有一個浴室。
The challenge of this project was to solve the layout that should be arranged in a terrain 13 meters long by 4.5 meters wide, without appearing too narrow. Knowing this, the solutions found were; to implant a 3 meters ceiling height, to create communication with the street, to elaborate a background in the store that was more inviting and to sector the floors. On the first floor was concentrated an exhibition space of the pieces, with furniture and pictures arranged along the hall, down the stairs were located shelves with the purpose of displaying the sculptures and includes a pantry, in addition, a bathroom located in the open loft below the ladder.
© Joana França
(Joana Fran A)

Floor Plans
平面圖

© Joana França
(Joana Fran A)

到瞭底部,在商店的後面已經有瞭100厘米的墻的建築限制,這兩個墻都在地上,就像在二樓一樣,這使得在一樓建立一個冬季花園成為可能,它與二樓和露臺相連,這種有目的間隔創造瞭地板的連接,通過天窗煙囪將自然光和通風帶到畫廊的後面,這是一個不允許安裝窗戶的地方,而且沒有吸引力。
To the bottom was established a limit of construction to 100 cm of the wall already existing in the later side of the store, that both on the ground as on the second floor, which made possible the creation of a winter garden on the first floor, that communicates with the second floor and with the terrace, this purposeful spacing created a connection of the floors that through skylights chimneys bring natural light and ventilation to the back of the Gallery, a place that doesn’t allow the installation of windows and was unattractive.
Isometry 1
等距,等容 1

帶訪客從一層到另一層的樓梯是由一根中央梁支撐的格子佈制成的,在二樓它獲得瞭一種新的功能,除瞭一層與另一層之間的通信外,它還收到瞭一個塗著黃色的護身窗簾屏幕,以及必要時用來曝光藝術品的支點。這層樓還有一個窗戶,可以作為一個大櫥窗,在街道和畫廊的內部空間之間產生溝通,因為它是一個功能較少的區域-衛生間、儲藏室、展示廳-它接收的是商店的更大傢具,比如桌子、書架和扶手椅。
The stairs leading visitors from one floor to the other one was made with plaid sheets supported by a central beam, on the second floor it gains a new functionality, in addition to the communication between one floor to another, it receives a body guard curtain screens painted in yellow and that pivot when necessary to expose works of art. This floor also gains a window that functions as a large showcase and generates communication between the street and the inner space of the gallery, because it is an area with fewer functions – restrooms, pantry, displays – it receives the bigger furniture of the store, like tables, shelves and armchairs.
© Joana França
(Joana Fran A)

露臺有一個小的免費區域,一個浴室和一個辦公室,將來可以變成一傢咖啡館。在這個空間的正面,cobogos可以突出顯示在小建築頂部創造的體積,並提醒廣泛使用這種資源的巴西利亞的住宅,這種手段還隱藏瞭露臺底部的水箱。在室內建築部分,合著者法比奧·阿爾梅達·普拉多(Fabio Almeida Prado)定義瞭與巴西利亞創造的品牌相似的顏色-黃色、黑色和灰色-這些作品的策展人也是他自己制作的,帶來瞭奧斯卡·尼邁耶(Oscar Niemeyer)、盧西奧·科斯塔(Lucio Costa)、托米·奧瓦(Tomie Owake)等重要他在辦公室的佈局旁邊構思瞭這傢商店的身份。
The terrace has a small free area, a bathroom and an office that can turn into a café in the future. In the facade of this space the cobogos serve to highlight the volume created at the top of the small building, and remind the residential houses of Brasília where this resource was widely used, this artifice also hides the water tank at the bottom of the terrace. In the interior architecture part, the coauthor Fabio Almeida Prado defined the colors used that resemble the brand created in Brasilia – yellow, black and gray – the curatorship of the pieces is also made by him and brings important works such as Oscar Niemeyer, Lucio Costa, Tomie Ohtake, the furniture comes from all over Brazil, that is, the creation of the store\’s identity was conceived by him next to the layout of the office.
另一個有趣的部分來解決畫廊的一個共同功能是如何暴露框架,而不是釘在墻上,懸掛鏈被放置,圖片被曝光在不同的高度和位置,而不必損壞墻壁。在解決瞭地形的功能和使用障礙後,需要在街道上突出立面,然後將預制混凝土砌塊應用於垂直花園,從而創造出具有簡單元素的運動,其中使用瞭與Athos Bulc o相同的技術,即創造一種構圖邏輯,因此,一個建設性的元素,以接收植物在墻上成為一個關鍵的部分,把正面變成有吸引力的東西。
Another interesting part to solve a common function in the gallery was the way of exposing the frames, instead of nails on the walls, suspended chains were placed and the pictures are exposed in different heights and positions without having to damage the walls. After solving the obstacles of function and use of the terrain, the facade needed to stand out in the street, then precast concrete blocks were applied to vertical garden, so was created movement with a simple element where the same techniques of Athos Bulcão was used, that is, to create a composition logic, so a constructive element directed to receiving plants in the wall became a key piece to transform the facade into something attractive.


Architects Debaixo do Bloco Arquitetura
Location Jardim Paulista, São Paulo – Estado de São Paulo, 04002-010, Brazil
Author Clay Rodrigues
Area 180.0 m2
Project Year 2017
Photograph Joana França
Category Gallery
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