有节奏地呼吸：布鲁马丁尼奥私人博物馆

公司：	Rodrigo Cerviño Lopez	类型：	建筑
地区：	巴西	标签：	博物馆

项目位于Brumadinho，一个靠近 Minas Gerais 州首府 Belo Horizonte 的村庄。这座博物馆是矿业商人贝尔纳多•帕兹 (Bernardo Paz) 的个人博物馆，贝尔纳多•帕兹有着不同寻常的建筑理念，在设计他的博物馆时，他提出不能将所有空间整合成一个建筑，而是将其分布在一个大约35公顷的公园里，博物馆是其中之一。

Inhotim Centro de Arte Contemporânea is located in Brumadinho, a village near Belo Horizonte, the capital of Minas Gerais state. A personal initiative of the mining industry businessman Bernardo Paz, the museum has an unusual architectural concept. Instead of sum up all its installations into a unique building, it is composed of many pavilions spread out in a park of approximately 35 hectares.

该博物馆盘踞在一个小山坡上，山坡是典型的Minas Gerais州的地形，有许多古老而平整的山丘。建筑体量有一部分被当地森林包围，这是一个以前用来储存集装箱的地方，原来的地形被修改为新的用途:一个巨大平面将其切割，创造了巨大的水平面以及储存的空间。Adriana Varejão美术馆将两个艺术家的作品放置在该私人博物馆内：卡地亚基金会的Linda do Rosário雕塑和Celacanto Provoca Maremoto的多联画屏(项目的进一步发展,艺术家创造了另外四个建筑作品)。

The Adriana Varejão Gallery was commissioned to shelter two works of the artist acquired by the museum and exhibited at Cartier Foundation: the sculpture Linda do Rosário and the polyptych Celacanto Provoca Maremoto (with the further development of the project, the artist created another four works for the building). The project should occupy a hillside with a small slope (typical of the topography of Minas Gerais, composed of old and smooth hills) partially surrounded by the native forest, an area formerly used to store containers. The original topography was modified for this new use: a huge displacement of earth has cut it, creating the great horizontal plane necessary to the storage.

该项目的定位旨在重新构建基地的原始地形，并在其上加入一个体量：一个常规的钢筋混凝土块，有一部分插入山坡。建筑结构由不规则的挡土墙组成，让空间最大化，在最深处，通过两根梁来承受在墙上的四根柱子来的荷载。

The orientation of the project aimed to recompose the site’s original topography and inserting on it an artificial element: a regular block in reinforced concrete (prestressed wasn’t necessary), partially inserted in the hillside. The building structure is composed by an irregular retaining wall that gains the space in the ground floor and receives the loads of the block, in its deepest part, trough two beams, in the middle, trough 4 columns integrated in the wall.

这座建筑也被认为是一条螺旋形的道路，连接着公园的两个部分。建筑空间的收缩与开放的呼吸感十分强烈：从一楼开始，（收缩）在水塘的中间，在一条狭窄的长廊里，远离这座建筑；（2）扩张：瓦雷昂的作品《灵丹妙药幻觉》，一个带有幻觉植物图案的瓷砖长凳）一楼的小广场；（3收缩）长廊转向建筑物；（4）扩张：琳达•多罗萨里奥和佩廷收藏家的雕塑）一楼，位于山体里面，在混凝土块下面；（5收缩）楼梯；（6）扩张，混凝土砌块内的第一层铺面；（7）坡道；（8）扩建另一个瓷砖台阶，是从Inhotim到Demini的通道，混凝土砌块上方的露台；（9）桥梁。

The building was also conceived as a spiral path that connects two different levels of the park, alternating moments of contraction/passage and expansion/exhibition: from the ground floor, (1, contraction) in the middle of the water pound, in a narrow promenade, away from the building; (2 expansion: Varejão’s piece Panacea Phantastica, a tile bench with drawings of hallucinatory plants) The small square plaza of the groundfloor; (3 contraction) The promenade turns to the building; (4 expansion: the sculpture Linda do Rosário and the paitingThe Collector) the ground floor, inside the hill, below the concrete block; (5 contraction) The stairs; (6 expansion, the polyptych Celacanto Provoca Maremoto) The first pavement, inside the concrete block; (7 contraction) The ramp; (8 expansion: another tile bench, now with drawings of birds, Passarinhos-from Inhotim to Demini) The terrace, above the concrete block; (9 contraction) The bridge. And vice versa.

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