© Haruo Mikami

c.HaruoMikami

架构师提供的文本描述。巴西利亚是一个现代主义城市，经常被比作一个露天博物馆的奥斯卡尼迈耶的作品。正是在这种背景下，德拜克索·杜布洛·阿基谢图拉经营着，建筑师克莱·罗德里格斯在一座老医院建筑中创建了一个艺术画廊。建筑师的第一种态度是将涂层从环境中移除，当拆掉衬垫时，可以看到一个不寻常的结构，主要是以梁的形状显示圆形扇形图。保护这一要素并在项目中加以强调成为这项工作的前提。

Text description provided by the architects. Brasilia is a modernist city that is often compared to an open-air museum of Oscar Niemeyer's works. It is in this context that Debaixo do Bloco Arquitetura operates and where the architect Clay Rodrigues creates an art gallery in an old hospital building. The first attitude of the architect was to remove the coatings from the environment when removed the liner was possible to see an unusual structure mainly in the shape of the beams that reveal a circular sector drawing. The preservation of this element and emphasizing it in the project became the premise of this work.

 © Haruo Mikami

c.HaruoMikami

梁和柱子的修复并没有损害建筑的历史，它保持了乡土的外观，混凝土和结构没有完成的元素，用一种语言揭示了空间的不完美和真实性。板子松散的白色衬里遵循建筑的骨架设计，创造了一种运动，在某种程度上类似于尼迈耶设计的国家博物馆的坡道。墙壁上已经安装了胶合板，与地板和混凝土一起，为需要暴露不同颜色、不同颜色的物体的环境带来了中立。

The restoration of the beams and pillars happened without harming the history of the building maintaining a rustic appearance, with the concrete and structures without elements of finish, in a language that reveals the imperfections and the authenticity of the space. The loose white lining of the slab follows the skeleton design of the building creating a movement, where somehow resemble the ramps of the national museum designed by Niemeyer. Already on the walls was cemented boards that together with the floor and concrete bring neutrality to an environment that needs to expose different objects in different colors and different colors.

 © Haruo Mikami

c.HaruoMikami

主要工作台由一块黑色砂岩、砂石和浮石组成，用来去除光泽，旁边是一块破碎的卡拉拉大理石，突出了“缺陷”是故意保存和提高的，因为它们赋予了这个项目的独创性和个性。在这种灰色和白色的气候中，家具是特意选择的颜色，焦糖，天然皮革和木材，是那些给画廊带来温暖，防止环境寒冷。

The main workbench consists of a black sandstone sanded and levigated to remove the luster and next to a broken Carrara marble accentuates that the "defects" are purposely conserved and exalted, since they are that they give originality and personality in this project. In the middle of this gray and white climate the furniture was purposely chosen in the colors caramels, natural leather and wood, they are the ones that bring the warmth to the gallery and prevent the environment from staying cold.

 © Haruo Mikami

c.HaruoMikami

105平方米的广阔面积显示了空旷的流通空间，同时也用于活动和发射，并允许从不同的角度和距离看到作品。由法比奥·卡马戈设计的花园出现在由纹理玻璃制造的半影中，玻璃表面有一个规则的虚线记录。这种材料可以让自然光线在不失去隐私的情况下通过，这使得我们得以创造一种看不见的游戏，关键的窗户也有助于这种景观和都市化的融合，从画廊内部可以看到和感知街道运动引起的谨慎干预。

The vast area of 105 m² reveals empty spaces for circulation and at the same time use for events and launches, as well as allowing the visibility of works from different angles and distances. The garden designed by Fabio Camargo appears in penumbras created by the textured glass, which has a regular dotted recording throughout its surface. The material allows natural light to pass without loss of privacy, which has allowed the creation of a game of seeing and not seeing, the pivotal windows also help in this integration of landscaping and urbanism, from inside the gallery it is possible to see and perceive the discreet intervention caused by street movement.

 © Haruo Mikami

c.HaruoMikami

Architects Debaixo do Bloco Arquitetura

Location Brasília - Brasilia, Federal District, Brazil

Architect Clay Rodrigues

Area 105.0 m2

Project Year 2017

Photographs Haruo Mikami

Category Adaptive Reuse