© Fernando Alda

(费尔南多·阿尔达)

架构师提供的文本描述。暗黑破坏神是一个创意智囊团和画廊成立于2006年，总部设在巴拿马城。从诞生之日起，素描和暗黑破坏神就共同致力于空间设计，培养对艺术、政治和文化的批判性思考。这家画廊最近搬到了上世纪30年代一栋具有里程碑意义的商业建筑的底层；它曾被认为是该市最大的百货公司之一，由于其位于圣安娜广场(Santa Ana Square)的最佳位置，圣安娜广场(Santa Ana Square)是社区的聚集地，也是圣安娜社区的中心地带。如今，这条繁忙的商业街是一条熙熙攘攘的步行街，挤满了街头摊贩和响亮的音乐；这是一种增强画廊主要驱动力的情景：通过在周边社区产生影响，鼓励公众对当代艺术的欣赏。

Text description provided by the architects. Diablo Rosso is a creative think tank and art gallery established in 2006 and based in Panama City. Since its birth, SKETCH and Diablo Rosso have worked together in the design of spaces that foster critical thinking towards arts, politics, and culture. The gallery has recently relocated to the ground floor of a landmark commercial building dating from the 1930s; recognized for formerly being one of the largest department stores in the city and due to its prime location across Santa Ana square, a meeting point for the community and heart of the Santa Ana neighborhood. Today this busy commercial street is a bustling pedestrian avenue crowded with street vendors and loud music; a one of a kind scenario that boosts the gallery’s main driver: encourage the public’s appreciation for contemporary art through the generation of impact in the surrounding community.

Text description provided by the architects. Diablo Rosso is a creative think tank and art gallery established in 2006 and based in Panama City. Since its birth, SKETCH and Diablo Rosso have worked together in the design of spaces that foster critical thinking towards arts, politics, and culture. The gallery has recently relocated to the ground floor of a landmark commercial building dating from the 1930s; recognized for formerly being one of the largest department stores in the city and due to its prime location across Santa Ana square, a meeting point for the community and heart of the Santa Ana neighborhood. Today this busy commercial street is a bustling pedestrian avenue crowded with street vendors and loud music; a one of a kind scenario that boosts the gallery’s main driver: encourage the public’s appreciation for contemporary art through the generation of impact in the surrounding community.

 © Fernando Alda

(费尔南多·阿尔达)

 © Fernando Alda

(费尔南多·阿尔达)

素描设计团队从创作过程一开始就参与其中，从空间的选择开始，并参与了一些保持原状的建筑构件的保护和修复工作，比如在画廊的一部分发现了原始的水磨石地板，以及修复了原来的门面开口。该项目还试图在历史建筑中充分整合画廊项目，突出位置感，以利于暗黑破坏神的文化议程，同时创造一个空间，允许欣赏展出的艺术作品，以及历史和建筑价值的建筑。

The design team at SKETCH has been involved from the start of the creative process, starting with the selection of the space and being involved with some of the preservation and restoration works on a few architectural components that remain intact, such as an original terrazzo floor that was discovered in a part of the gallery and the restoration of the original façade openings. The project also seek to respectfully integrate the gallery program within the historic building, highlight the sense of place in order to benefit Diablo Rosso’s cultural agenda while creating a space that allows the appreciation of the exhibited art pieces as well as the historic and architectural value of the building.

The design team at SKETCH has been involved from the start of the creative process, starting with the selection of the space and being involved with some of the preservation and restoration works on a few architectural components that remain intact, such as an original terrazzo floor that was discovered in a part of the gallery and the restoration of the original façade openings. The project also seek to respectfully integrate the gallery program within the historic building, highlight the sense of place in order to benefit Diablo Rosso’s cultural agenda while creating a space that allows the appreciation of the exhibited art pieces as well as the historic and architectural value of the building.

 © Fernando Alda

(费尔南多·阿尔达)

 © Fernando Alda

(费尔南多·阿尔达)

这个项目的目的是摆脱传统的白色立方体画廊，创造一个积极参与其周围环境。通过修复建筑物的原始立面，全高度玻璃允许日光淹没画廊空间，反之亦然，可以从街对面的广场上看到它的内容。晚上，画廊点亮了人行道-向路过的任何人展示其当前的活动计划；提出新的互动、接触、想法和社区内的讨论。这种干预让城市成为夜晚的一盏灯和白天的一扇窗户-全年展示巡回展览-吸引了路人的好奇心和感官。

This project aims to part away from the traditional white cube gallery, creating one that is actively engaged with its surroundings. Through the restoration of the building’s original facade, full height glazing allows daylight to flood the gallery space and, viceversa, lets its contents to be viewed from the square across the street. At night, the gallery lights up the sidewalk - presenting its current program to anybody that walks by; proposing new interactions, encounters, ideas and discussions within the neighborhood. This intervention lends itself to the city as a lamp by night and as a window by day —showing itinerant exhibitions throughout the year— appealing to the curiosity and to the senses of the passerby.

This project aims to part away from the traditional white cube gallery, creating one that is actively engaged with its surroundings. Through the restoration of the building’s original facade, full height glazing allows daylight to flood the gallery space and, viceversa, lets its contents to be viewed from the square across the street. At night, the gallery lights up the sidewalk - presenting its current program to anybody that walks by; proposing new interactions, encounters, ideas and discussions within the neighborhood. This intervention lends itself to the city as a lamp by night and as a window by day —showing itinerant exhibitions throughout the year— appealing to the curiosity and to the senses of the passerby.

 Floor Plan

内部的分布被认为是为了增强这种观察的感觉。信息台位于画廊的中心，远离街道的视野，对游客来说不太吓人。此外，如果有必要，在第二个和更小的展览空间内，将一个小的储藏室、洗手间和机械室从公众的视野中折叠起来。

The internal distribution has been thought out to enhance this feeling of looking through. The information desk has been located in the center of the gallery, away from the view of the street to be less intimidating to the visitors. Further back a small storage room, restroom and mechanical room are tucked away from the public’s view, next to a second and smaller exhibition space that also serves as a projection room if necessary.

The internal distribution has been thought out to enhance this feeling of looking through. The information desk has been located in the center of the gallery, away from the view of the street to be less intimidating to the visitors. Further back a small storage room, restroom and mechanical room are tucked away from the public’s view, next to a second and smaller exhibition space that also serves as a projection room if necessary.

 © Fernando Alda

(费尔南多·阿尔达)

Architects SKETCH

Location Ave. Central pedestrian, Santa Ana. Panama City, Panama

Author Johann Wolfschoon

Design Team Carlos Chen, Daniela Manfredi, Anthony Flores

Area 1614.59 ft2

Project Year 2018

Photographs Fernando Alda

Category Restoration