Art Gallery Catuçaba CRU! Architects

2018-11-21 12:00

 © Nelson Kon

(Kon)

架构师提供的文本描述。客户对艺术画廊的看法是，艺术和自然是交织在一起的，艺术应该在自然环境中呈现。在整个酒店财产中，可以找到各种艺术设施。根据酒店老板的说法，在大自然中，一个人应该更乐于看到和感受艺术。艺术画廊必须举办变化的展览，为客户提供一种不同的艺术。这个画廊是由一个社区生态建设合作社建立的，由CRU协助！建筑师。这个社会建设项目的目的是为贫困社区提供培训和工作发展。在社区中心之后，在坎布里村以外寻找委员会，以获得合作伙伴的经济回报，这个艺术画廊就是一个例子。整个竹制结构由当地合作社执行，而砖瓦、挖掘和地基则由酒店所在的农场的当地工人完成。

Text description provided by the architects. The clients’ idea of an art gallery was that art and nature are intertwined and art should be presented in a natural environment. Throughout the hotel property various art installations can be found. By being in nature one should be more receptive to see and feel art, according to the hotel owner. The art gallery has to host changing exhibitions offering clients a variation of art. This art gallery was built by a community eco-building cooperative that was aided by CRU! Architects. The idea of this social building project was to provide training and job-development for a deprived community. After the community center, commissions were sought outside of the village of Camburi in order to have economic return for the cooperants, of which this art-gallery is an example. The entire bamboo-structure was executed by the local cooperative, whilst the brickwork, excavations and foundations were done by the local workers from the farm which the hotel is located on.

Text description provided by the architects. The clients’ idea of an art gallery was that art and nature are intertwined and art should be presented in a natural environment. Throughout the hotel property various art installations can be found. By being in nature one should be more receptive to see and feel art, according to the hotel owner. The art gallery has to host changing exhibitions offering clients a variation of art. This art gallery was built by a community eco-building cooperative that was aided by CRU! Architects. The idea of this social building project was to provide training and job-development for a deprived community. After the community center, commissions were sought outside of the village of Camburi in order to have economic return for the cooperants, of which this art-gallery is an example. The entire bamboo-structure was executed by the local cooperative, whilst the brickwork, excavations and foundations were done by the local workers from the farm which the hotel is located on.

 © Nelson Kon

(Kon)

 Ground Floor Plan

 © Nelson Kon

(Kon)

画廊的位置设置在它所依赖的主要农舍(法赞达殖民葡萄牙风格)和奥卡，这是一个由亚马逊印第安部落建造的公共空间，最初几个家庭可以住在一起。除此之外，没有提出进一步的要求，殖民农舍和土著社区空间之间的艺术画廊必须将这两种不同的风格结合起来。因此，从外面的设计概述殖民地葡萄牙风格，它的白色墙壁和蓝色门类似农舍，并显示印度的心/核心在里面(是竹子结构)。狭窄的通道，中间的拱门和庭院，指的是古老的寺院，在此试图唤起一种神圣的感觉。一个小喷泉位于天井中央，水从那里流回河中，通过使水下降约5米，给下面的河流提供氧气。通过提供13扇门，你可以从每一点进入画廊，增加透明度，但保持一种特别的好奇心，看看里面是什么。一边的地板水平延伸了建筑，部分漂浮在河上，让游客能够从远处看画廊。

The location of the art-gallery was set between the main farmhouse of which it depended (Fazenda colonial Portuguese style) and the Occa, a communal space built by an Amazonian Indian tribe where originally several families could live together. Aside from this no further requirements were made.  The art-gallery, arising between the colonial farmhouse and the indigenous communal space, had to unite these two different styles. On that account, the design from the outside outlines the colonial Portuguese style with its white walls and blue doors similar to the farmhouse, and shows an Indian heart/core on the inside (being the bamboo structure). The narrow passage, the arcs and courtyard in the middle refer to ancient monasteries and hereby tries to invoke a divine sensation. A small fountain is situated in the center of the patio from where the water runs back into the river, giving oxygen to the river below by making the water fall some 5m. By providing 13 doors one can enter the gallery from each point augmenting the transparency but maintaining a particular curiosity to see what´s inside. The floor level on one side extends the building and partly floats over the river giving a visitor the ability to look at the art gallery from a distance.

The location of the art-gallery was set between the main farmhouse of which it depended (Fazenda colonial Portuguese style) and the Occa, a communal space built by an Amazonian Indian tribe where originally several families could live together. Aside from this no further requirements were made.  The art-gallery, arising between the colonial farmhouse and the indigenous communal space, had to unite these two different styles. On that account, the design from the outside outlines the colonial Portuguese style with its white walls and blue doors similar to the farmhouse, and shows an Indian heart/core on the inside (being the bamboo structure). The narrow passage, the arcs and courtyard in the middle refer to ancient monasteries and hereby tries to invoke a divine sensation. A small fountain is situated in the center of the patio from where the water runs back into the river, giving oxygen to the river below by making the water fall some 5m. By providing 13 doors one can enter the gallery from each point augmenting the transparency but maintaining a particular curiosity to see what´s inside. The floor level on one side extends the building and partly floats over the river giving a visitor the ability to look at the art gallery from a distance.

 © Nelson Kon

(Kon)

 © Nelson Kon

(Kon)

 Isometric (Detail)

等距(细节)

画廊完全基于黄金比例-不同部分的宽度和高度对应希腊和罗马建筑师，如维特鲁维乌斯的规则。它是一座简陋的建筑，与周围的殖民风格相适应，但也指附近的小建筑。一张印地安心的葡萄牙人脸。由于艺术可以被认为是神圣的，修道院拱道的精神语言被用来容纳展览。从最初的意义上说，画廊是一条有盖的人行道或通道，沿着墙壁狭窄而部分开放。

The gallery is entirely based on the golden proportion – the width and height of the different parts correspond to the rules set by the Greek and Roman architects such as Vitruvius. It is meant to be a humble construction that fits the colonial style of the surrounding, but that also refers to the occa nearby. A portuguese face with an indian heart. Since art can be considered sacred, the spiritual  language of a monastery arch-way was used to house the exhibitions. In the original sense a gallery was a covered walk or passageway, narrow and partly open along a wall.

The gallery is entirely based on the golden proportion – the width and height of the different parts correspond to the rules set by the Greek and Roman architects such as Vitruvius. It is meant to be a humble construction that fits the colonial style of the surrounding, but that also refers to the occa nearby. A portuguese face with an indian heart. Since art can be considered sacred, the spiritual  language of a monastery arch-way was used to house the exhibitions. In the original sense a gallery was a covered walk or passageway, narrow and partly open along a wall.