架构师提供的文本描述。Lygia Pape画廊是根据来自Inhotim的策展人团队的要求设计的，目的是为巴西艺术家Lygia Pape，TTéia的一项具体安装提供一座建筑。画廊的尺寸是通过安装预先确定的：一个由21x21x6m组成的立方体。大楼也应该关闭和黑暗，因为TTéia是一个轻的部分。如果与所要求的建筑物的大小相比，该地点相对较小。这是一座山坡上的高原，在森林中被一条狭窄的上升道路所逼近。

Text description provided by the architects. The Gallery Lygia Pape was designed after a demand from the curatorial team at Inhotim to have a building for one specific installation by Brazilian artist Lygia Pape, Ttéia. The dimensions of the gallery were pre-established by the installation: a cube of 21x21x6m. The building should also be closed and dark, as Ttéia is a light piece. The site was relatively small if compared to the size of the requested building. It was a plateau in the slope of a hill, approached by a narrow ascending road in a forest.

 Courtesy of Ttéia 1C, 2002 Fio metalizado Copyrights © Projeto Lygia Pape

TTéia 1C，2002 Fio Metizado版权(Projeto Lygia Pape)提供

场地规划几乎是自然地由高原的大小和结构决定的。游客到达高原非常接近一堵6米高的盲墙，这一遭遇发生在一个突如其来的地方。

The site plan was almost naturally defined by the size and configuration of the plateau. The visitor arrives at the plateau very close to a 6-meter-high blind wall, the encounter happens in an abrupt way.

为了尽量减少这次碰撞的影响，立方体的顶板相对底部减少并旋转，保持了建筑物的脚印大小。这一策略建立了墙的三角剖分，并使外墙有了一定的深度，使它与游客有了一点距离。

In an attempt to minimize the impact of this encounter, the top slab of the cube was decreased and rotated in relation to the bottom, keeping the size of the footprint of the building. This strategy created a triangulation of the walls and gave the façade some depth, pushing it a little off from the visitor.

 © Clarissa Lanari

c.Clarissa Lanari

该项目考虑的另一个重要方面是，将放在画廊内的装置是一件没有方向性的作品，它邀请参观者在其周围传阅，逐渐暴露自己。然后，建筑应该具有同样的特征，即小维数，这是通过旋转立方体的顶部来实现的。

The other important aspect considered for the project was that the installation to be put inside the gallery is a work with no directionality that invites the visitor to circulate around it, gradually revealing itself.  The building should then have the same character of little dimensionality, something that was achieved through the rotation of the top of the cube.

在内部，表面的三角剖视也可以被感觉到的流通，带游客去安装，并造成一些方向混乱。这种循环是黑暗和曲折的，把来访者从“外部世界”中抽离出来，带他到一个由特娅创造的内省、反思和灵性的地方。

Inside, the triangulation of the façade can also be perceived at the circulation that takes the visitor to the installation and causes some disorientation. The circulation is dark and tortuous and extracts the visitor from the “outside world”, taking him to a place of introspection, reflection and spirituality, created by Ttéia.