架构师提供的文本描述。阿尔梅达·普拉多画廊的总部一直设在巴西利亚，但几年后需求发生了变化，画廊老板决定把他的画廊带到圣保罗。在这一变化中，建筑事务所DeBaixo do Bloco被邀请，其目的是将该国首都的典型痕迹带到圣保罗的一个高尚地区，这样即使是在另一个州，商店也不会失去其诞生城市的身份。这一空间的最大前提是创建一个舒适的画廊，客户可以在那里看到暴露的作品，就像它在他的房子里一样，这与该地区现有的画廊不同。

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)

这个项目的挑战是要解决在13米长4.5米宽的地形上布置的布局，而不显得太窄。知道了这一点，找到的解决办法是：植入3米高的天花板，与街道建立沟通，在商店里精心设计一个更吸引人的背景，并划分楼层。在一楼集中了一个展览空间，家具和图片沿着大厅排列，楼梯上的架子是用来展示雕塑的，还包括一个储藏室，在梯子下面的开放式阁楼里还有一个浴室。

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

平面图

 © Joana França

(Joana Fran A)

到了底部，在商店的后面已经有了100厘米的墙的建筑限制，这两个墙都在地上，就像在二楼一样，这使得在一楼建立一个冬季花园成为可能，它与二楼和露台相连，这种有目的间隔创造了地板的连接，通过天窗烟囱将自然光和通风带到画廊的后面，这是一个不允许安装窗户的地方，而且没有吸引力。

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

带访客从一层到另一层的楼梯是由一根中央梁支撑的格子布制成的，在二楼它获得了一种新的功能，除了一层与另一层之间的通信外，它还收到了一个涂着黄色的护身窗帘屏幕，以及必要时用来曝光艺术品的支点。这层楼还有一个窗户，可以作为一个大橱窗，在街道和画廊的内部空间之间产生沟通，因为它是一个功能较少的区域-卫生间、储藏室、展示厅-它接收的是商店的更大家具，比如桌子、书架和扶手椅。

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)

露台有一个小的免费区域，一个浴室和一个办公室，将来可以变成一家咖啡馆。在这个空间的正面，cobogos可以突出显示在小建筑顶部创造的体积，并提醒广泛使用这种资源的巴西利亚的住宅，这种手段还隐藏了露台底部的水箱。在室内建筑部分，合著者法比奥·阿尔梅达·普拉多(Fabio Almeida Prado)定义了与巴西利亚创造的品牌相似的颜色-黄色、黑色和灰色-这些作品的策展人也是他自己制作的，带来了奥斯卡·尼迈耶(Oscar Niemeyer)、卢西奥·科斯塔(Lucio Costa)、托米·奥瓦(Tomie Owake)等重要他在办公室的布局旁边构思了这家商店的身份。

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.

另一个有趣的部分来解决画廊的一个共同功能是如何暴露框架，而不是钉在墙上，悬挂链被放置，图片被曝光在不同的高度和位置，而不必损坏墙壁。在解决了地形的功能和使用障碍后，需要在街道上突出立面，然后将预制混凝土砌块应用于垂直花园，从而创造出具有简单元素的运动，其中使用了与Athos Bulc o相同的技术，即创造一种构图逻辑，因此，一个建设性的元素，以接收植物在墙上成为一个关键的部分，把正面变成有吸引力的东西。

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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