© Carlos Eguiguren

c.Carlos Eguiguren

项目描述

Project Description

这座建筑位于埃斯波兹和纳西索戈科里亚街交叉口西北角的一块2.240平方米的地块上。它有一个大通道庭院在角落展示雕塑，一个招待会，一家咖啡馆，一个主要的陈列室，再加上一个小房间专门展示一种较小的形式的艺术。所有这些区域都被布置在主庭院周围，在它的北面和东侧有一个滑动的窗户，形成一个连续的，开放的公共空间。大楼还设有一个可容纳99个座位的礼堂，设有一个放映室和翻译区，位于较小的展览室下面的地下室，该展厅位于主楼层上方，厨房在咖啡厅后面；再到地块的内部，一间售楼室和档案室、秘书和办公室，向一个纵向的庭院开放，所需的场地东边受到挫折。还有一层地下储藏室和26辆汽车的停车场。

The building is located on a plot of 2.240m2, on the north-west corner of the intersection at Espoz and Narciso Goycolea streets. It has a large access courtyard on the corner to exhibit sculptures, and a reception, a café, a main showroom, plus a small room dedicated to exhibit art of a smaller format. All of these areas are laid out around the main courtyard, bound at its north and east sides with a sliding window, to form a continuous, open public space. The building also contains an auditorium with capacity for 99 seats, with a screening room and translation area, located in the basement under the smaller exhibition room, which is raised above the main floor, the kitchen is behind the cafe; and further to the interior of the plot, a sales room and archive, secretary and offices, open to a longitudinal courtyard generated by the required setback from the eastern boundary of the site. There is also a basement floor for storage rooms and parking for 26 cars.

在展厅中，我们根据不同的展览标准设计了半透明玻璃天花板和照明设备的技术水平。这个天花板是一个透光器，悬挂在没有中间支撑柱的金属屋顶结构上，横梁向南形成交联的“棚”，允许自然光通过，而不是阳光。天花板和屋顶的组合形成了一盏大灯，将自然光与各种人工光源相结合，将自然光和各种人工光源(不同色温管的可调荧光灯作为漫射光源，卤素可调聚光灯用于工作中的聚光灯)。这种天花板和屋顶的组合还包括隐蔽设施和暖通空调管道、烟雾探测器、监控摄像头等。暖通空调系统通过窗户底部的连续地板格栅。总的来说，我们试图从视图中删除所有可能干扰所显示的作品视图的项目。这栋建筑有钢筋混凝土墙和后张混凝土板.

In the exhibition rooms, we designed a translucent glass ceiling and a technical level for lighting equipment according to the different criteria of exhibitions. This ceiling, a light diffuser, is suspended from a metal roof structure without intermediate support pillars, with beams forming crosslinked "sheds" open to the south, to allow the passage of natural light but not sunlight. The assemblage of ceiling and roof form a large lamp that lights the exhibition rooms combining natural light with a variety of artificial light sources (dimmable fluorescent lamps with different color temperature tubes for a diffuse light base, and halogen adjustable spotlights for concentrated light on the works). This assemblage of ceiling and roof also features hidden facilities and HVAC ducts, smoke detectors, surveillance cameras, etc. The HVAC system is through continuous floor grates at the base of the windows. In general, we sought to remove from view all the items that could interfere with the view of the works displayed. The building has reinforced concrete walls and post-tensioned concrete s

 © Carlos Eguiguren

c.Carlos Eguiguren

混凝土被暴露在外面，由于胶合板模板表面涂有酚醛涂层，使混凝土表面光滑，除了画廊的墙壁外，画廊的内部覆盖着一层涂有油漆的胶合板，以便能够自由地挂画。这个包层支持悬挂工程可以钻，覆盖和重新油漆随意安装展览。胶合板覆盖所有混凝土墙所需的保温层，以及建筑物西面的暖通空调管道，将天花板上的管道与地下室的机械通风机连接起来。

The concrete was left exposed, with a smooth finish resulting from plywood formwork with a phenolic coating, except the walls of the galleries, which were clad inside with a double layer of painted plywood, to be able to hang paintings freely. This cladding supporting the hanging works can be drilled, covered, and repainted at will for mounting exhibitions. Plywood boards cover the thermal insulation layer required in all enclosing concrete walls, and also the HVAC ducts on the west facade of the building, communicating the ducts in the ceiling with mechanical ventilators in the basement.

主房宽12.1米，长24.8米，高5.1米。它的比例和大小允许展览大格式的绘画和雕塑，有适当的距离来思考和间隔一套独立的作品。其平面图的长方形比例允许最大周长在最小宽度和最大长度的范围内显示与其面积相关的绘画，从而使房间被视为一个空间单元，从任何角度看都是可以把握的。这一平行空间的长方之一面向庭院，从地板到天花板都有夹层玻璃，其最大尺寸为510厘米，与整个房间的高度相匹配。

The main room is 12.1 m wide by 24.8 m long and 5.1 m high. Its proportion and size allow for the exhibition of large format paintings and sculptures, with suitable distances for contemplation and spacing of a set of independent works. The elongated rectangular proportion of its plan allows a maximum perimeter to display paintings in relation to its area, within the range of a minimum width and a maximum length such that the room is perceived as a spatial unit graspable from any viewpoint. One of the long sides of this parallelepiped space faces the courtyard, with floor to ceiling windows with laminated glass panes, their maximum size of 510 cms matches the full height of the room.

 © Carlos Eguiguren

c.Carlos Eguiguren

沿着窗户的整个侧面，我们在离窗户3.1米的地方放置了一道隔墙，墙在地板上方，有两个钢制支架，用来控制眩光，软化院子大开口在房间里产生的灯光对比。它还定义了庭院内部的空间边界，而不是玻璃立面上的空间边界，因此外部庭院的感知与房间的内部空间重叠。这个隔板的悬挂使气流从窗户的底部向房间的中心区域靠近地面。

Along the entire side of the windows, we placed a partition wall 3.1 m away from them, raised above the floor, with two steel supports, which controls glare and softens the lighting contrast produced in the room by the big opening to the courtyard. It also defines the spatial boundary of the courtyard inside rather than on the plane of the glass facade, so the perception of the exterior courtyard overlaps with the interior space of the room. The suspension of this partition allows airflow near the ground, from the base of the windows towards the central area of the room.

 Escantillón

Escantillón

餐厅外露的混凝土板在与结构配筋网的分布相匹配的网格上开孔，以使放在顶部的垫子吸收的声波得以传递，以减少房间内的混响和噪音。所有的公共接待区，无论是室内还是室外，都是用切割在谷物上的石灰华大理石铺成的，放在80×80厘米的格子板上，这是该计划的管理模块。地面水平是相同的，在最大的庭院和相邻的室内围场。为了设计庭院中的雨水径流，我们在大理石板的交界处留下了8毫米的开口，通过这些开口，雨水排入地板下的一个渠道网络。由于这个位于地下地板上方的庭院必须承受来自雕塑重量的大点荷载，所以大理石路面板需要一个4厘米厚的加筋后张板。

The exposed concrete slab on the cafeteria was perforated in a grid matching the distribution of the structural reinforcement mesh, in order to allow the transfer of sound waves absorbed by mats placed on top, so as to mitigate the reverberation and noise in the room. All public reception areas, indoor as well as outdoor, are paved with travertine marble cut against the grain, placed on plates in a grid 80 x 80 cms, which is the regulatory module of the plan. The ground level is the same in the largest courtyard and adjacent indoor enclosures. To design the rainwater runoff in the courtyard keeping a single horizontal ground level, we left 8 mm openings at the junctures of the marble plates, through which water drains into a network of channels under the floor. Since this courtyard, which is above the underground floor, must support large point loads from the weight of the sculptures, a reinforced post-tensioned slab 4 cm thick was required for the marble pavement plates.

 © Carlos Eguiguren

c.Carlos Eguiguren

礼堂部分地下，供会议、电影观看、录像或室内音乐之用，声学上安装在木质格子下的吸水性和反光表面，均匀地覆盖天花板和侧壁，隐藏音响设备、烟雾探测器、喷头、安全传感器等。空调系统是在楼板下设计的，通风管道分布在座椅下面。后墙漆成白色，用作投影屏幕。舞台的一侧有一扇窗户，与室内庭院相通，在参展商、演员或音乐家的脸上侧面提供自然光线，同时也是一个紧急出口。该项目的一项一般要求是移除所有可能分散或干扰轴承表面(墙壁和地板)展品的附属设备，在这种情况下，需要大量照明设备、空调、安全、音响等是一项特别困难的要求。

The auditorium, partially underground, is for conferences, film viewings, video or chamber music, acoustically fitted with absorbent and reflective surfaces distributed under wooden lattices that cover the ceiling and side walls homogeneously, hiding sound equipment, smoke detectors, sprinklers, security sensors, etc. The air conditioning system was designed with a chamber under the floor slab, with ventilation ducts distributed under the seats. The back wall was painted white to serve as a projection screen. To the side of the stage there is a window communicating with an interior courtyard, which provides natural light laterally on the faces of exhibitors, actors or musicians, and also serves as an emergency exit. A generic requirement for this project was to remove all attached devices that could be distracting or interfere with the exhibits from the bearing surfaces (walls and floors), which in a case like this, that needs much lighting equipment, air conditioning, security, sound, etc, is a particularly difficult requirement.

 © Carlos Eguiguren

c.Carlos Eguiguren

对绘画和雕塑表面的另一个一般要求是墙的正交布局和地板的水平性，这些项目构成中隐含的空间条件。因此，本项目展览室的平面和立面是正交的。绘画框架和雕塑基座在视觉平面上的选择性切割，将作品与其所处的空间分离，以更高的感官构成自己的秩序，是将其确立为艺术对象的根本资源。从20世纪初现代主义在艺术史上对这一神圣性资源的批判性质疑，随着绘画中对透视表征的放弃，以及基座与雕塑对象的整合，展览空间(即建筑围护结构)承担了增强和隔离艺术作品的作用，这些角色以前都是为框架和基座保留的。由此产生了一种艺术画廊类型学，可以用白色立方体的名字来描述：一种封闭的、中立的、内部的空虚，在那里，作品被悬挂在另一个形而上学的平面上，超越外部世界的平庸现实，而在里面展示的一切都获得了一种重新赋予权力的感觉。因此，新的艺术类型的艺术装置，达到这种传统的重新表述之间的关系的艺术作品和它的地方展示，它是这一建筑类型的一个支流。在这个项目中，我们进一步打开了白色立方体：房间打开了一个庭院，而庭院打开了城市，作为一个宁静的避风港。这是基于一种希望，即艺术作品的意义不仅仅在于强调和封装它们的技巧。我们想给艺术一个适合沉思的静默空间，但对城市开放。在沉默和开放之间找到正确的平衡一直是塑造这个项目的架构挑战。

Another generic requirement for the surfaces bearing paintings and sculptures was the orthogonal layout of walls and the horizontality of floors, implicit spatial conditions in the composition of these projects. Consequently, the plan and elevations of the exhibition rooms in this project are orthogonal. The selective cutting that the frame of the painting and the pedestal of the sculpture produces in the visual plane, separating the work from the space it inhabits to compose its own order with a heightened sense, has been the fundamental resource to establish it as an object of art. From the critical questioning of this consecrating resource operated by modernism in art history in the early twentieth century, with the abandonment of perspective representation in painting and the integration of the pedestal into the sculptural object, the exhibition space, ie the architectural enclosure, takes the role of enhancing and insulating the artwork, roles which were previously reserved for the frame and pedestal. From this emerged an art gallery typology that can be characterized under the name of White Cube: a closed, neutral, interior void, where the work is suspended in another metaphysical plane, beyond the prosaic reality of the external world, and everything exhibited inside gains a re-empowered sense. Thus, the new artistic genre of art installations, culminating this conventional reformulation of the relationship between an artwork and the place where it is exhibited, it is a tributary of this architectural typology. In this project we have taken a step further by opening the White Cube: the rooms open onto a courtyard, and the courtyard opens onto the city, integrated as a haven of tranquility. This is based on the hope that the works of art hold their meaning not only in the artifice that highlights and encapsulates them. We wanted to give art the space of silence suitable for its contemplation, but open to the city . Finding the right balance between this silence and this opening has been the architectural challenge that has shaped this project.

LuisIzquierdo W.

Luis Izquierdo W.

优势材料

Predominant Materials

 © Carlos Eguiguren

c.Carlos Eguiguren

墙壁和天花板上的混凝土外露，主展厅和图形摄影室的油漆板壁板，主展览室的石灰华大理石地板，图形摄影室，雕塑庭院，接待和商店，办公室和展厅的硬木地板，主展厅上方技术楼层的金属结构，图形和摄影室，礼堂墙壁和天花板上的木质石板声熔覆。

Exposed concrete in walls and ceilings, painted board siding in main exhibition room and graphics and photography room, travertine marble flooring in main exhibition room, graphics and photography room, sculpture courtyard, reception, and shop, hardwood flooring in offices and showroom, metal structure for technical floor on ceiling above main exhibition room and graphics and photography room, wooden slats acoustic cladding on auditorium walls and ceiling.

Architects Izquierdo Lehmann, elton_léniz

Location Espoz 3125, Vitacura, Santiago Metropolitan Region, Chile

Category Gallery

Project Architect Luis Izquierdo, Antonia Lehmann, Mauricio Leniz y Mirene Elton

Project Area 2016.45 m2

Project Year 2008

Photography Carlos Eguiguren

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