巴西米納斯吉拉斯　草間彌生畫廊

MACh Arquitetos＋Rizoma Arquitetura

The pavilion for Yayoi Kusama will house two installations from the artist at Inhotim: I am here but nothing and Aftermath of obliteration of eternity, known for attracting a great quantity of people, that inevitably form long waiting lines. That way, the architectural design should responot only to the sheltering of the art works, but also to the creation of a protected space for the wait and to the preparation of the public to the unique experience offered by the art.

坐落於巴西伊紐町當代藝術中心的展館，專展出日本藝術家草間彌生的兩項裝置作品：《我在這裡，但什麼也不是》和《無限鏡屋：永恆消失的結果》，以吸引絡繹不絕的人潮慕名而來。為此，建築設計不僅要顧及藝術品的維護，亦須規劃出順暢的排隊動線，帶給人們獨特的藝術欣賞體驗。

The proposal for shading follows a principle of utilizing the minimum amount of structural elements, with a sequence of cables, disposed parallel to each other, connecting the highest point next to the cut slope at the site to the its lowest point, at the extreme opposite of the plateau. These lines, with a soft curvature, reconstitute metaphorically the profile of the original site, in the most natural form possible. This design aims to recognize the given site, that suffered previous intervention for the creation of the plateau, also generating the slopes that surround it, and adjusting itself to that given site. The tensioned shading tries to take advantage of the spaciality that was generated by the cut on the land. In composition with a flexible metal mesh, a wide surface is created for the support of the growth of a climbing plant, the species Congea tomentosa, an exotic plant that was introduced to Brazil in the 60's by Roberto Burle Marx. The choice of this species is due to a series of factors: its density, that allows for shading and a certain amount of retaining of rain water, its great adaptation to the Brazilian climate, low maintenance, and its evident aesthetic attributes. The Congeia will also attribute the notion of time and continuous transformation to the design, by its changing flower coloration in tons of white, pink, lilac and grey. Under this shading roof, the space opens itself horizontally to the garden on one side, and slopes up towards the direction of the pavilion itself, designed as a vertical plane of concrete that crosses the entire extension between the lateral slopes. In that manner, the architecture is not characterized as a free standing object, mas as a topographical intervention directly related to the configuration of the site.

該展館外遮蔽設計以使用少量結構為原則，於鄰近削坡的地點，運用系列彼此呈平行布局的纜線，由高至低連接搭建而成。這些柔和的曲線以最自然的形式，巧妙地重建原始場地的輪廓。本案旨在認識原始的山坡地勢，並嘗試利用斜坡地形，透過網格與柔韌的金屬網共構一個寬闊遮棚，以利絨苞藤攀附生長。此款外來藤本植物於60年代由巴西景觀設計師羅伯托引進當地，無需特別維護，便能良好適應巴西氣候，既可遮陽也能保存雨水；其白、粉紅、淡紫和灰色的花朵，隨著時間遞嬗亦能呈現不同美感。此外，遮棚底下的花園朝展場方向平行排列，形成開放式空間，其地面則以混凝土鋪陳斜坡之間的展覽場域。藉由此舉，使建築不是獨立個體，反之能與當地環境相互呼應。