被邀请在通信空间里写关于第34届圣保罗双年展的建筑设计，使我们反思围绕它的工作过程，并重新审视我们对该活动的策展建议的解读–其目的是讨论事物之间的关系，远远超过事物本身。讨论的中心是对话的可能性–或者说调解的可能性–作为与世界联系的一种方式。

The invitation to write, in the space of the correspondences, about the architectural design for the 34th Bienal de São Paulo led us to reflect on the work process around it and to revisit the reading that we made of the event’s curatorial proposal – which is aimed discussing the relationship between things, much more than the things themselves. A discussion that is centered on the possibility of dialogue – or of mediation – as a way of relating with the world.

当我们考虑到在双年展建筑中的展览所涉及的主要问题之一是它与建筑规模的对抗，它的不朽尺寸–记得这个展馆是在1954年为庆祝圣保罗市第四届百年庆典而建造的，被设计为容纳工业宫。在城市层面上，250 x 50米的展馆由一系列广泛的水平平面组成，由规则的柱子网格构成，通过坡道连接，并通过其宽敞的底层和三倍的天花板高度与周围的公园融为一体。与这些特点相结合的是一个全新的、备受赞誉的建筑特点：清理第三层，该层以前是由MAC USP的收藏品占据的，现在它将整个自由平面展示给人们，重点是其礼堂。

This concept of mediation takes on an even larger meaning when we consider that one of the main questions involved in an exhibition in the Bienal building is its confrontation with the scale of the architecture, its monumental dimensions – remembering that the pavilion, constructed for the occasion of the celebrations of the IV Centennial of the city of São Paulo, in 1954, was designed to house the Palace of Industries. With an urban dimension, the 250 x 50-meter pavilion consists of a series of extensive horizontal planes, structured by a regular grid of columns, connected by ramps and integrated to the surrounding park by its spacious ground floor with its triple ceiling height. Coupled with these characteristics is a brand-new and much celebrated architectural feature: the clearing of the third floor, which was previously occupied by the collection of MAC USP and which now presents its entire free plan to view, with a highlight on its auditorium.

基于这些初步考虑，我们确定了在艺术品、展馆和公园之间建立有趣的关系，并以游客为主导。更确切地说，我们旨在通过建筑创造条件，使这些关系以一种平衡和调节的方式发生。这个目标引起了创造一个中间尺度的想法，以履行这个角色。为了实现这一设计理念–并考虑到与展馆所暗示的城市阅读的类比，即其楼层就像城市街区–我们想象了分布在整个平面上的建筑或画廊，能够配置不同程度的封闭性、视觉渗透性和照明控制。这些画廊标志着一连串的内部展览空间，具有交替的形式和材料，其内部可以根据每个艺术家的需求，灵活地用于安排艺术品。详细和精确的展览设计是由Metrópole Arquitetos Associados开发的。

Based on these initial considerations, we identified the relationships that would be interesting to establish between the artworks, the pavilion and the park, with the visitors as a conducting thread. More precisely, we aimed to create, by way of the architecture, conditions by which these relationships would take place in a balanced and modulated way. This goal gave rise to the idea of creating an intermediary scale, to carry out this role. To materialize this design concept – and considering an analogy with the urban reading that the pavilion suggests, in which its floors are like city blocks – we imagined buildings or galleries distributed throughout its planes, able to configure different levels of containment, visual permeability and lighting control. The galleries mark off a sequence of inner exhibition spaces, with alternating forms and materialities, whose interiors can be flexibly used for the arrangement of the artworks, according to the needs indicated by each artist. The detailed and precise exhibition design was developed by Metrópole Arquitetos Associados.

为了与玻璃幕墙与公园的开放性相对应，我们想象了用轻型预制构件建造的画廊，使用层压木的支撑框架和各种材料的面板制成的隔板。除了建立一个与展馆不同的结构形式外，选择一个基于工业化组件的系统，可以更快、更容易地进行安装，并在展览结束后有更多的机会重新使用材料。

In counterpoint to the open transparence of the glass façade in relation to the park, we imagined the galleries built with light, prefabricated elements, using support frames of laminated wood and partitions made with panels of various materials. Besides establishing a different constructive repertoire from that of the pavilion, the choice of a system based on industrialized components allows for quicker and easier setup along with more possibilities for the reuse of materials after the exhibition is taken down.

对于用于制作隔断的 “皮肤”，我们选择了黄麻织物，它允许空气和光线通过，同时也作为有机材料的精致过滤器；肺泡聚碳酸酯板，它用漫射照明配置空间，模糊了视线和视觉连续性；胶合板，允许更多的内省和控制设置。最后但并非最不重要的是，作为对奥斯卡-尼迈耶最初提出的开放式底层的恢复，展览的入口集中在其西北面，紧邻侯爵府。凭借其不朽的设计和充足的天花板高度，仿佛它是侯爵楼本身的延伸，该入口加强了建筑的城市特征，并将作为一个欢迎区，同时还提供储物柜、书店和教育空间，寻求公园和展览之间的更大融合。

For the “skins” used in making the partitions, we chose a jute fabric that allows for the passage of air and light while also acting as a delicate filter of organic material; sheets of alveolar polycarbonate, which configure a space with diffuse lighting, blurring the lines of sight and visual continuities; and plywood sheets, allowing for more introspective and controlled settings. Last but not least, as a recovery of the open ground floor originally proposed by Oscar Niemeyer, the entrance to the exhibition is concentrated on its northwest face, next to the marquise. With its monumental design and ample ceiling height, as though it were an extension of the marquise itself, the entrance reinforces the building’s urban character and will serve as a welcoming area while also offering lockers, a bookstore and an educational space, seeking greater integration between the park and the exhibition.

Architects: Andrade Morettin Arquitetos Associados
Year: 2021
Photographs: Pedro Kok
Manufacturers: Crosslam, Castanhal Têxtil, Leo Madeiras, Polysistem
Architects In Charge:Vinicius Andrade, Marcelo Morettin, Marcelo Maia Rosa, Renata Andrulis
Project Coordinator:Raphael Souza
Project Team:Fernanda Mangini, Murilo Zidan, Daniel Zahoul, Guilherme Torres, Izabel Sigaud
Interns:Julia Daher, Simone Shimada, Danielle Gregorio, Ingrid Colares, Victoria de Almeida Leite, Arthur L. Falleiros, Arthur Klain, André Enrico, Ana Paula Silveira, Amanda Cunha, Maria Carolina Bomeny
City:São Paulo
Country:Brazil